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AN ENDEAVOR 



TOWARDS A 



UNIVERSAL ALPHABET, 



WHICH SHALL HAVE A LETTER FOR EVERY DISTINCT SOUND AND ARTICULATION 
UTTERABLE BY THE HUMAN VOICE; 

WHICH SHALL HAVE A DISTINCTIVE FORM FOR EACH LETTER, THAT SHALL RE- 
SEMBLE NO OTHER, UNLESS IT IS SIMILAR IN POWER ; 

WHICH SHALL RETAIN THAT DISTINCTIVE AND ESSENTIAL FORM OF EACH LETTER, 

THROUGHOUT THE RANGE OF AND CHANGES FOR CAPITAL AND BODY, 

OR LOWER CASE PRINTING LETTERS, CAPITAL AND BODY 

ROUND WRITING LETTERS, AND SHORT 

WRITING LETTERS ; 

AND WHICH SHALL FORM THE BASIS OF AN EASY, PRACTICAL SYSTEM, ADAPTED 
TO ALL KINDS OF PRINTING AND WRITING. 



By A. D. SPROAT, 



CHILLICOTHE: 
PUBLISHED BY THE AUTHOR. 

185 7. 



ADVERTISEMENT. 



To Publishers, and friends of the Spelling Reform: 

The change from the present heterogeneous ways of spelling to the 
phonetic mode, necessarily produces a very considerable change in the 
Alphabet. Phoneticians endeavor to make this change as little as 
possible, by using nearly all the Roman letters, and adding enough 
new ones, or making slight changes in the old ones, so as to fill out 
the complement of a list of all the sounds. But even this involves a 
great change. 

It is certain that a person having an English education can learn to 
read Phonotypy, as it has heretofore been proposed, sooner than he 
can learn an entirely new alphabet, and read by it. Now, is this 
advantage (a superficial and temporary one), and any other advantages 
that can be named, which an emended Roman alphabet may have over 
a new one (an American Alphabet), of sufficient importance to 
countervail the serious disadvantages connected with it? This is the 
question which 1 wish to bring emphatically before you. Please turn 
to numbers 5, 6, 7, 8, and 9, in the body of this work, for the reasons 
why we should have but one alphabet ; and suffer me to say here, that 
any enterprise of this kind which employs more than one alphabet, 
however successful it may be in its inception, icill not stand the test of 
time. Why, then, put up with amendments ? Why not make the 
reform a thorough and permanent one, at once? 

While this work was being put in type, I have become aware that 
a variation of Pitman's Phonography is taught in England, called 
Phonical Stenography. The Printing Schemes, as now proposed in 
England and America, are variant, and have been changing ever since 
Phonotypy became agitated. The language of the two countries not 
only should, but must be the same ; and not in its spoken form alone, 
or written form alone, but in both. Nothing, therefore, in this printing 
and writing reform is yet fixed ; and although considerable outla} T s in 
types and books have been made, no one can reasonably hope or even 
wish for the success of his scheme, when satisfied it is far behind what 
is easily attainable. 

It is said that there must be a time when changes shall cease : when 
we must settle down on some plan, and keep to it. True ; but we must 
first have a plan, and one on which the great body of those who speak 
our language can be made to settle. 

I claim superiority for my system, on the following points : 

1st. I claim that my tables of vocal and consonant elements are 

v 



VI ADVERTISEMENT. 

either perfect, or, if they should not be deemed so, that they are 
nearer the truth than any heretofore proposed. 

2d. I claim that my Alphabet (the table of forms appropriated to 
the elements) is by far the best and most practical one yet devised for 
all purposes of printing, and round or long hand writing ; and this 
without reference to its connection with brief writing. For reasons 
for this superiority, see Nos. 8 and 9. 

3d. I claim that my Brief Writing, in its recording stage, is superior 
to Pitman's, or any other, in its adaptation to all purposes of short 
hand, save that of reporting, by showing the exact sounds of words, in 
a plain, lineal, and easy manner, not depending on thicknessing the 
letters, or on minute turns, which cannot be shown with a pencil, or 
dull pen. See No. 150, and plate No. 3. 

4th. I believe that my system of writing, in its reporting stage, is, 
or can very easily be made, equal, if not superior, to Pitman's, even as 
to brevity. By brevity I mean the quickness with which a word can 
be written, and not the shortness of the strokes. As Mr. Pitman's 
Phonography is considered to be the shortest and best now known, I 
have made a comparison between his and mine, in plate No. 4. Many 
words can be written shorter by his system than by mine, and vice 
versa. I think that any regular piece of composition, containing a 
dozen lines or more, where all the words are to be written out, or 
plainly and separately designated, can be done by my system shorter 
than by his. See No. 151. 

5th. I claim that my system, as a whole, although it may be im- 
perfect, is still integral, and far in advance of any yet proposed. I 
solicit investigation of the above claims, by those who are competent 
to judge. 

This little work has cost me much labor. I offer it to the public 
free of copy-right, feeling that I have but little pecuniary interest in 
its success. But I do feel a very considerable interest as an author 
and philanthropist, in having its merits and demerits fully canvassed. 
If any one shall put forward a better system, or shall make improve- 
ments in mine, I shall wish him God speed. 

The recital of the foregoing claims may appear arrogant and ego- 
tistical. I have made them with the view of eliciting investigation, 
and thereby inducing some publisher, or some society, after examining 
my system, to undertake its advocacy, in a monthly paper. To do 
this properly, will involve a considerable outlay for matrices for the 
new type, &c. The journal should receive and publish suggestions 
and corrections from all who felt interested ; so that, before the final 
adoption of any system or plan, the relative merits of all should be 
thoroughly discussed, and the best one rendered as perfect as man can 
make it. I can spare neither time nor money to conduct these matters, 
and must leave them to others. 

AMASA D. SPROAT. 

Chillicoihe, Ohio, January, 1857. 



AN ENDEAVOR 



TOWARDS 



A UNIVERSAL ALPHABET 



INTRODUCTION. 



Prominent among the improvements soon to come into use, 
will be the substitution of a new, or at least of a corrected and 
extended alphabet, for our present one ; and the consequent 
abrogation of our abnormal ways of spelling. Subsequent to 
this, (it may be long in the future,) will be the regulation to 
some extent, of our language. That art by which all other arts 
are made known and their knowledge perpetuated, and by which, 
next to reason, we are distinguished from brutes; the medium of 
our social intercourse, and thereby, in a great measure, of our 
civilization and happiness ; and above all, the medium through 
which the Word of the Lord is communicated to us, has been, 
as respects any sophical amendments in its construction, or 
attempt at any, almost entirely neglected. It has been left to 
tumble into shape, to drift, to stretch, as ignorance, chance, or 
caprice, might sway it. 

2. Our own loved English, rough, irregular, redundant, and 
defective as it is, we would not exchange for any other tongue 
on earth, either ancient or modern. But it has faults which 
need correcting, such as pronouncing different words alike, and 
irregularities in tenses ; and probably it has a few deficiencies 
which should be supplied. We do not want the machinery of 
Greek or Latin conjugations and declensions, but we think that 
short terminals to verbs to note their moods and tenses, and to 
substantives for their numbers and genders, might be employed 

(1) 



8 INTRODUCTION. 

with considerable advantage. Endings might be arranged so as 
to show the parts of speech, and give definiteness to the meaning, 
M -ing, -ed, -ly, -tion, -ness, &c. do now; and so as frequently 
to enable one word to express what is now done by several. 
Such innovations being based on a few simple rules, might be 
learned by any person in a few hours. 

3. The regularity, beauty, and power of the Greek and Latin 
languages, their grammatical construction, particularly in their 
declensions and conjugations, prove that they were set in order 
by men of science. Many of their radical -words were drawn 
from other tongues ; some might have sprung up fortuitously ; 
yet no chance convention of children, or ignorant barbarians, 
could have produced the harmony and order we see reigning 
there. Their writing too, we have every reason to believe, was 
strictly phonetic, except that they had two or three double letters.* 
How sadly have we departed from this plain and simple way 
of expressing speech on paper ! What years of toil does this 
departure cause our youth to endure ! 

4. No living language is stationary. Ours is not, and can not 
be made so; therefore improvements ought not to be so much 
regretted, or opposed simply on account of the change. I deem 
it impracticable in the present state of religion and science, for 
men to form a good philosophical language ; a perfect one 
would be out of the question; and therefore I would correct 
our own as a man amends his life, which is not by jumping at 
once into a new one, but by gradually reforming the present. 

5. But not so with improvements in the Alphabet and mode 
of spelling. Here the change, when made at all, should be a 
thorough one. It should leap at once from the present deficient 
alphabet and heterogeneous modes of spelling, to the most 
perfect means of recording words that can be devised. 

* The rule adopted by our Latin grammars, of pronouncing c and 
g soft, as it is called, before e, i and y, and pronouncing ae, oe and e 
alike, has always seemed to me absurd. We have no evidence that 
the Romans ever perpetrated any such jumble; but have every 
reason to suppose that with them c and g were always hard, 
and that their single vowels indicated simple sounds, and when 
two vowels came together, that both were sounded and formed 
a diphthong. 



INTRODUCTION. 9 

6. To write speech by having and using a separate letter for 
each and every distinct articulate sound, or element spoken; 
to always express each element in writing or printing by its 
own proper letter, and by that alone ; and to set down the letters 
in the same order in which the elements are uttered, are prin- 
ciples so plain, so natural, so easy to be learned, and which 
dispense at once with such an immense amount of disadvantage 
pertaining to the present system of spelling, that they must 
ultimately prevail.* 

7. Writers on Phonetics, as far as I have noticed, have taken 
great pains to depict the advantages of Phonetic spelling over 
the common orthography. They, however, adopt the present 
letters as far as they go, adding a few new ones, or new parts 
to old ones, to complete the list. Two reasons are assigned for 
this course : The first is they wish to retain the old letters, so 
that the present generation may be able to read the new way 
with little trouble. Grave as this consideration may look, it is 
really but a slight one. A man can learn a phonetic alphabet 
which is altogether new to him, and learn how to read with it 
in a few hours ; a labor insignificant in comparison with even 
the slightest advantage in an alphabet intended to spread over 
the world, and endure for ages. There is no advantage to the 
learner, in retaining a letter as to its shape, and changing its 
character. We may retain the letter e, but when we restrict it 
to one of the many sounds it now stands for, we in fact make 
a new letter of it. I have found it occasioned me more trouble 
and more labor to learn and remember that a particular sound 
belongs to the printing a, and another particular sound to the 
written form, a, than to attach those particular sounds to new 
characters, because in this latter case the other sounds of the 
letter a are not constantly occurring to my mind to bother me. 
The other reason for retaining the old letters is that the old 

* Although our table of elements and the characters representing 
them, are to be in strict conformity with these precepts, yet a 
departure from them is convenient in common printing and writing, 
and even necessary in brief writing, so far as to combine two or 
more elements which are frequently associated in words, in one 
letter. Such letters will be called double, or composite letters. 



10 INTRODUCTION. 

stock of types may still be used instead of casting new ones. 
This objection, too, dwindles away when it is considered that a 
reform of this kind can not be adopted at once. The present 
type will continue to be used, and more will be cast probably 
for centuries yet. 

8. The forms of the Roman and Italic letters, (g excepted,) are 
beautiful. The Italic give the idea of gracefulness and delicacy ; 
the Roman that of firmness and strength. Placed in words and 
sentences they form a writing surpassing all others in its regular 
and noble appearance. Why not adopt them then ? Because : 
1st. I wish to dispense with tailed letters, or projections below 
the line of writing. 2d. I wish all the stemmed letters — those 
rising above the upper line — to be vowels, so that they may be 
distinguished thereby from the consonants, and the writing be read 
easier. Too great uniformity mars the ease of reading, as is seen 
by the greater difficulty of reading a sentence when it is in capi- 
tals, where there are no stems or tails for the eye to catch at. This 
object is attained by having the vowels for the common (or body) 
letters uniformly taller than the consonants. Letters answering to 
our capitals must all be of the same hight. 3d. I wish, as far 
as convenient, to conform the shapes of the letters to their 
classification; thus showing a connection between p and b, f and 
v, &c, by the similarity of their forms. This relationship will 
be better understood by referring to my table of analogical forms 
of the consonants, paragraph No. 86. Though this feature is very 
desirable, it can be but partially developed. It must give way 
to others of more practical importance. 4th. I wish to have the 
letters as simple as they well can be, not giving them unnecessary 
or unmeaning parts; so that they may be more easily written, and 
more compactly put together, and so that the eyes may be less 
fatigued in reading them. Although a reader can gather words 
with his eye, as they are now written, much faster than he can 
speak them, yet if they were written phonetically, and with 
more simple characters, he could gather them still faster and 
with far more ease. This will be acknowledged by noticing how 
much easier and quicker a number written in figures can be 
comprehended than when in words. Hence, what I shall call short 
writing can be read easier by those acquainted with it than 



INTRODUCTION. 11 

the present print. Several of the Hebrew letters are so very 
much alike as to make it difficult to distinguish them. The Roman 
letters are free from this fault, yet with some of them simplicity 
and distinctiveness of form, whereby the eye can apprehend them 
easily and quickly, are made subordinate to a fine rounded ap- 
pearance. And 5th, and lastly, I wish to have a single alphabet ; 
that is, one series or set of letters, which shall constitute a com- 
plete table of all the simple elementary sounds and articulations ; 
each sound and articulation having its own appropriate letter ; 
and these letters so formed, that they, or their analogues, shall 
serve for all kinds of printing and writing. The shapes of the 
letters and their appendages, must be formed, of course, so as to 
meet all the different purposes and exigencies of printing and 
writing ; of capitals, of common letters, of short hand letters, &c. 
The intention is, that throughout all these changes, each letter 
shall, as far as possible, retain its distinctive form. 

9. The disadvantage and confusion, and consequent folly, of 
having to learn and use three alphabets, or, in other words, 
of having three or more entirely different shaped characters to 
signify the same letter, as we now have for capitals and small 
printing and short hand letters, must be obvious without argument. 
All the advantages of capitals, italics, &c, are easily secured by 
means of projections on the corners, and small modifications in 
particular parts, by the leaning of the letters, and by change in 
their thickness ; while their characteristic or essential forms are 
unaltered. 

10. To devise forms which shall best fulfill all the foregoing 
requirements is a matter of great labor. Until quite recently I 
supposed I was the first to attempt it, and I can not suppose 
my attempt is not susceptible of improvement. Yet I must beg 
of any proposer of new forms, that he will previously consider 
well his scheme in comparison with mine, by taking his forms 
through the whole range of printing and round and short and brief 
writing. The organic forms of the printing letters must be the 
same as the writing, and these must be such as can be easily and 
quickly written with a pen. And as the short and brief kinds of 
writing will be principally used, I have arranged the shapes 
with especial regard to them. Indeed my present short con- 



U SPEECH. 

sonants, with a few exceptions, are the same as those in a 
breviscriptive scheme T had formed for my own convenience in 
A. D. 18*22. In fixing the forms of my letters, instead of avoiding 
the roman, I can show that in my Table of 28 simple consonants, 
(No. 104,) all but four — he, h, hi and 1, in the fourth column — are 
the result, as to their shapes, of carrying out into methodical 
arrangement the present forms. 

11. Mr. Isaac Pitman, author of a " Manual of Phonography," 
and Mr. Alexander John Ellis, author of '-Essentials of Pho- 
netics," each by far the most complete work of its kind I have 
seen, deserve great praise for their sterling productions, and their 
efficient and untiring exertions to bring Phonetics before the 
public. I must refer the reader to the " Essentials " for the con- 
figurations of the organs in forming the letters, for full lists of 
them, and nice discriminations between them, for lists of the 
elements belonging to the principal European languages, for an 
ethnical alphabet, &c, &c. I intend to describe here merely what 
I consider necessary to a full understanding of the principles 
of my alphabet. 

SPEECH. 

12. The substance of human speech is the breath, — air expired 
from the lungs. Breath has relation to Truth, and to Life. It is 
or should be known, that the original words which are rendered 
Holy Ghost and Holy Spirit in the New Testament, literally mean 
Holy Breath. This Holy Breath in its descent from Jehovah, 
assumes a form and meaning apprehensible by men and angels, 
and is then called the Word; answering in man to the transition of 
the breath into sound, and the modifications of that sound so as to 
form speech. It would seem that inarticulate sound and singing, 
and probably the vowels also, have reference to the affections ; 
while the consonants are representative of what is intellectual. 
The letters formed by the lips and teeth, being the most outward 
organs, seem to denote the more external truths and principles ; 
while the palatals and gutturals, being produced further down the~ 
mouth, signify those principles more internal. Hence these letters 
enter into the scripture names which involve holy things. The 
aspirate H, which is breath without sound, or articulation, being 



TONE. 13 

breath heard simply as breath, signifies To Be, or Life itself. 
The Jews write the name of the Lord by a simple fl, ( h ; ) and 
the Arabic and Mohammedan name Allah is Al-ah, that is, the h. 
The h is twice inserted in the most holy name Jehovah. The 
other two consonants in this great name are j, or more properly y, 
a deep sounding guttural, and v, or properly w, the most outward 
sounding labial ; the two signifying the first and the last. 

TONE, OR LARYNGAL SOUND. 

13. Sounds are vibrations of the air. They are heard by their 
striking on the tympanum of the ear, whence report of them is car- 
ried through the auditory nerve to the brain. We are now to con- 
sider those sounds only which are emitted from the human mouth. 
These are produced by the vibrations of the vocal chords, or liga- 
ments of the larynx, while air from the lungs is passing through 
them. This sound is sometimes called phonation ; and when mod- 
ified by the organs of the throat and mouth, it is called the voice. 

14. Except the noise of breathing and of whistling, and a few 
slight gurgling sounds made by inspiration, all the vocal sounds 
are produced during the expiration of air from the lungs. For a 
description of the lungs, the bronchiae, the trachea or windpipe, 
the larynx and its appendages, and the vocal organs generally, 
and their operation in the production of sound, I must refer the 
reader to works on Anatomy and Physiology ; for the theory of 
sound to works on Acoustics. As it is difficult to describe intelli- 
gibly the formation of consonants and the sounds of vowels, I 
shall assume those we have in our language to be already known, 
and attempt the description of such only as are foreign to it. 

15. Laryngal sound is modified by the expansion and contrac- 
tion of the vocal chords, thereby forming different tones or notes 
in music. These tones have quantity, (intensity, or loudness,) 
and quality or timbre. It is this last which distinguishes one per- 
son's voice from another's. By this the ear instantly distinguishes 
between the sound of a wind and a stringed instrument, or between 
a note made by a flute and the same note made by a fife. It is 
from a nice appreciation of this quality, that one violin will com- 
mand twenty or thirty dollars, while another, whose appearance is 
just as good, will sell but for two or three. 



14 TONE. 

16. A person's natural tone of voice is the key, or pitch in 
which he usually speaks. If he did not vary this pitch his speech 
would be monotonous. Variation upwards is called the rising in- 
flection ; downwards the falling inflection, or cadence. The latter 
is used at the end of a sentence ; the former when a question 
is asked. Much of the meaning as well as beauty of speech de- 
pends upon intonation, accent, and emphasis ; all of which are due 
to the regulation by the glottis, of laryngal sound and its force. 

17. Though tones and forces enter so largely into the expres- 
sion of speech, we have very imperfect ways of noting them at 
present. For modes of expressing force, see Nos. 25, et seq. 
Tones affect vowels and sounding consonants, and may be con- 
sidered as belonging to words rather than to letters. It will not 
do to encumber letters themselves with parts or marks to indicate 
tone. We scarcely ever want to trouble ourselves about it in 
writing, otherwise than what the pauses and other characters in 
use for other purposes will indicate. 

18. All the pauses except the comma and interrogation point, 
denote a cadence. The interrogation point always marks a ques- 
tion ; and this is generally made by the rising inflection. But 
sometimes an emphatic word is set in a high tone, and the inflec- 
tion runs downward instead of up ; as, will you do it ? In such 
cases the emphatic word should be noted. Whether the question 
begins with a low tone and runs upward, or the contrary, it should 
have the reversed interrogation point ( <? ) at the beginning, to give 
the reader due notice of it, as well as the common point (?) at 
the end. 

19. It may be well to have a few points to signify tone and 
inflection exclusively. A triangular dot immediately preceding a 
word placed at the hight of a capital letter, thus Y , will indi- 
cate a high key or pitch of voice for that word ; placed midway 
between the high key dot's place and the bottom of the line, 
(thus t) it will indicate the middle key; and at the bottom, 
(thus k ) the low key. A triangular dot with a tail to it, the head 
up, (thus T ) will show the rising inflection, indicating that from 
that point to the end of the sentence the tone of the words runs 
upwards ; and with the head down, (thus J, ) the falling inflection, 
or running downwards of the tone is shown. 



15 



PRODUCTION OF SPEECH. 

20. The parts concerned in the articulation, (jointing,) of 
sound, commonly called the organs of speech, are the palate, uvula, 
fauces, nasal fossae, tongue, teeth, gums and lips. By these or- 
gans laryngal sound and breath are variously reverberated and 
obstructed, (articulated,) so as to form speech. Whispering is 
articulation of breath without voice. In whistling the sound is 
produced in the mouth instead of the larynx. Sighing, crying, 
and laughing, form no part of artificial speech, and need not 
be described here. 

21. The Elements of Speech naturally divide themselves into 
Sounds, called Vowels, — vocales, from vox, the voice; — and In- 
terruptions of Sound, called Consonants, — consonantes, sound- 
ing with, because, as was supposed, they can not be uttered by 
themselves, but require a vowel to be sounded with them. This 
was a mistake, for letters like z can be uttered by themselves; 
and indeed we frequently hear a whole syllable so uttered, as in 
the words opened, pronounced opVd; humbled, pronounced hum- 
bVd. The word consonant has been long in use to signify any 
letter which is not a vowel, and as I shall need a word of this 
signification, I shall so use it. 

22. Our letters which represent these elements of speech are 
still but articles or joints of speech. The filling up, or transit of 
voice from one letter to another can not be written. Our vowels 
are stand points, and vague ones too, among the indefinite shades 
and varieties of tone and sound which the vocal apparatus can 
send forth. All these will run into each other : many consonants 
will run into each other. Hence it is evident that letters, (or writ- 
ten language,) can only point out the principal landmarks of 
speech; and that to have as perfect an agreement as possible 
between them, we must make our speech conform to the usual pro- 
nunciation of the letters, as well as make letters to represent the 
elements of speech. 



16 



OF VOWELS AND SOUNDS. 

23. To vowels belong tone, timbre, sound, loudness, and length. 
I have spoken of the tone and timbre. For want of a word 
having a more definite meaning, I shall use the word sound to 
signify that quality which distinguishes one vowel from another ; 
thus a has one sound, and e another. 

24. As in the formation of tone in the larynx there is produced 
a gamut or scale of notes, so there seems to be something 
analogous to it in the re-formation or re-verberation of that tone 
in the mouth, producing vowels, or distinct sounds. Emerging 
from y where the proceeding breath is too closely pent up to 
produce a clear vowel, and its hiss in passing forms that con- 
sonant, the first pure sound uncombined with hissing is e. By 
gradually enlarging and drawing back the cavity of the mouth 
we make a continuous change in the sound until we get to 6o, 
which is the last and lowest pure vowel. The scale is then shut 
off by the lips in the consonant w. Distributed along this dia- 
pason, at about equal intervals, are the vowels of our language, 
and of others. Are these intervals arbitrary ? Or are they in 
accordance with some law of nature, as are the intervals of the 
notes in music ? I have not detected any such law, and suppose 
the particular sound of each vowel, as well as its distance from 
another, to be arbitrary, that is, fixed by custom alone. My 
remarks on particular vowels, their number, &c, is deferred to 
another place. See No. 39. 

ACCENT, EMPHASIS, QUANTITY, LOUDNESS OR INTENSITY 

OF SOUND. 

25. We have a rule which says, " Every English word of more 
than one syllable has one of them accented." In long words, 
besides the principal accent, there is a subaccent on another 
syllable ; and in a few words even a third accent. The accent 
then with us forms an important part of our pronunciation; and 
should be noted in print ; at least there should be a way to ex- 
press it when we choose. Mr. Ellis says, " The misplacement of 
an accent destroys the whole character of an English word ; and 
as the position of the accent is not determinable by any precise 



ACCENT, EMPHASIS, ETC. 17 

rules, and has even varied in the course of time, as words passed 
from learned to conventional use, there is hardly a part of 
English pronunciation which is more difficult to ascertain. In the 
usual orthography, the accent is never marked, and the consequence 
of this neglect is, that few who are not Englishmen place the 
accent aright ; and many Englishmen mistake the place of the 
accent in any rather uncommon word.'' 

26. Accent is the distinguishing one syllable of a word from 
the rest by a greater stress of voice. The marking one word of 
a sentence from the rest in the same manner, is called emphasis. 
I would make a distinction, however, between what may be called 
accented words and emphasised or emphatic words. In com- 
mon speaking, the words of a sentence are frequently huddled 
together as if they were but one word ; and one or two of them 
are accented without any apparent reason for it. In saying i% It 
was laid upon the shelf," we put a stress on laid and shelf, or 
rather, a half stress on laid and a whole one on shelf, hurrying 
over the other syllables, even the accented one in upon, as so 
many unaccented syllables. Here shelf may be called an ac- 
cented, or accentuated word ; but not an emphatic one ; and laid 
a half accented word; the others, unaccented words. 

27. It has been questioned whether accent belongs to vowels 
exclusively, or to vowels and consonants, or to syllables. When 
in the accented syllable the vowel is long, the accent is evidently 
on it; when the vowel is short, it is what has been called a stopt 
vowel, and the accent or stress seems to be shared by the stop- 
ping consonant. There is no doubt that tonic consonants can 
be accented ; and atonic ones can be attended with greater force of 
breath, which is accent to them. But the idea entertained by some, 
that the consonant alone is accented when the vowel is a stopt 
one, appears to me erroneous. Supposing a vowel and one or two 
or three consonants coming together, should all be considered ac- 
cented, we cannot afford to give them more than one accent mark; 
and to me it appears all sufficient to place that mark to the 
vowel. Placed there, it can as well stand for an accent on the 
whole syllable as when placed at the end of it. 

28. Phoneticians have accent rules, and place the accent mark 

only to such accented vowels as are exceptions to the rules. But 
9 



18 AOYKNT, EMPHASIS, ETC. 

the rules are complex and the exceptions are many, and the 
same necessity exists for a full assortment of type to mark the 
exceptions, as where the accent is always marked. A prominent 
full spoken monosyllable should also have the accent mark. 

29. An obvious way of designating accent is by doubling the 
thickness of the vowel post, the upright part. In writing, the 
thick vowel post can be expressed by a heavy downward swell, 
without any extra trouble. The half, or subaccent, would be ex- 
pressed by swelling the upper part only of the vowel post ; and 
the unaccented vowels by thin posts. An analogous way of ex- 
pressing an emphatic word is by putting it in heavier faced type. 
The German plan of spacing the words is a convenient one. 

30. In my list of vowels, No. 40, the letters are duplicated to dis- 
tinguish the long from the short ; the short letters being narrower. 
I have made them all uniformly with thin posts. To mark them 
for accent too, by giving them thick posts as well as thin, would 
require a re-duplication, or making four letters for each sound, 
which is entirely too many for convenience in printing. In 
English there are but very few words, (as female, eighteen, plumb- 
line ; — they are mostly compound words,) where two long sylla- 
bles come together, and where a long vowel is unaccented ; so 
that we may assume as a general rule that all long vowels are 
accented. The first and third sounds when short are always un- 
accented. So we have but eight short simple sounds in English, 
which would require doubling to show accent. But we do not 
wish to increase the list of letters even by eight ; and as an 
alphabet for all languages must be capable of showing accent 
any where, I recommend the employment of accent marks for 
this purpose, as follows : 

31. The mark shaped thus, s placed high up, immediately be- 
fore a vowel, will show a half accent on that vowel, or on the syl- 
lable which the vowel is in ; and the double mark, thus *, will show 
a full accent. The single mark placed lower down, thus \ , be- 
fore a word shows the word to be accented ; and when double, thus, 
^ it shows the word to be emphatic. 



A true representation of speech requires that the accent on 
every word, even the stress on monosyllables, should be shown; 
and if the vowel types are re-duplicated to mark the distinc- 



LENGTH OF VOWELS. 19 

tion between accent and non-accent, this showing will not only 
be easy, but must be done as a matter of necessity, as much 
as a word must be spelt right from necessity. Such a repre- 
sentation, I believe, will ultimately be adopted ; but it is asking 
too much to go into it now. Instead of showing the stress by 
swelling a part of the letter, putting a dot in a vacant place on 
the type so as not to increase its width, may be preferred. 

• 
LENGTH OF VOWELS. 

32. Two lengths only, the long and the short, have generally 
been acknowledged in English. But from the unsettled condition 
of our speech we sometimes find a vowel which it is difficult to 

classify. 

33. Messrs. Pitman and Ellis make a division of the short 
sounds into brief and stopt ; the former occupying unaccented 
syllables, and ending " smoothly," the latter ending " abruptly," 
being stopt, or cut off by a consonant following in the same sylla- 
ble. All their stopt vowels are short, and each one as they 
suppose, has its mate among the long ones. They seem to con- 
sider the distinction between the stopt and brief vowels as of more 
consequence than between brief and long, as their six charac- 
ters for long vowels stand for brief ones too, depending on the 
accent to determine to which class they belong. Their three 
remaining brief vowels, being very seldom used, are suffered to 
take stopt vowel letters, so as to keep the number of characters as 
few as possible. 

34. I feel a diffidence in raising a point against men who have 
exhibited so much keen and careful discrimination, but it cer- 
tainly appears to me that where a long vowel is succeeded by a 
consonant in the same syllable, it is as fully stopt or shut off 
by that consonant as a short vowel can be ; and that when a 
long vowel ends a syllable it expires quietly as much as a short 
one. The difference between " expiring quietly" and "stopping" 
seems much more theoretical than practical. As some of my rea- 
ders may not be acquainted with their system, I will take as an 
example the word indivisibility, instanced by Messrs. Andrews 
and Boyle in their "Phonographic Class Book," displaying Pit- 
man's Phonography. They say, very truly, that "the beginner 
would be very likely to use the small dot, [short i] for every 
syllable." But they instruct him that the second, fourth, sixth 
and seventh syllables are to be written with a heavy dot, (that 
is, e long.) The reason is this : the word is divided into sylla- 
bles, thus, in-di-vis-i-bil-i-ty ; the vowels ending syllables are 
brief, the others are stopt ; and at the end of each brief vowel 



20 LENGTH OF VOWELS. 

a " dicing away" or short halt is made, or should be understood 
before Commencing the next syllable. There is no actual halt 
made between the syllables, and a change may be made in their 
division without producing the least change in the pronunciation 
of the word. Notwithstanding the " initial and final effects/' the 
Syllabication of letters does not change their character ; and it 
is a mere bother to make a circumstance or situation in which 
a letter may be placed an inherent quality of the letter itself. 
As the old distinction of long and short appears to me the 
more practical and apparent, I shall adopt it. 

35. It may appear to the English ear that some sounds, as e and 
a,, are naturally long; and others, as i in pin, and e, in met, natu- 
rally short and abrupt ; and that the long and full sounds are what 
may be called stationary, and the short ones transitionary, or mere 
half-way places. We cannot pass from e to a without going by I. 
Let any one utter e, and continuing the voice without faltering, 
proceed slowly to a; he will come to an intermediate place, or 
sound, which is neither e nor a, but which has precisely the sound 
of i in pin. In the same manner he will discover the sound of e 
in met, to be between the different sounds of a in cane and care. 
So also is short u between au and 5, etc. As these short sounds 
are generally stopped in English words, they do not appear to have 
the same stationary character as the long and full ones. I believe 
this appearance arises from our being constantly accustomed to 
hear one class of sounds pronounced long, and others short, and 
not from a,ny inherent quality of the sounds themselves. The 
French make their sound in meme, which is nearly our e in met, 
long ; so also is their sound in deux long, which differs slightly 
from our short ti; and I have no doubt these sounds appear to 
them as stationary, as do a and 5 to us. I conclude that nature 
establishes no determinate sounds, or intervals, or lengths for the 
vowels. 

36. The length of letters, — the time occupied in pronouncing 
them, — will vary according to the rapidity with which words are 
uttered. The relative lengths are somewhat as follows : A long 
vowel is from once and a half to twice the length of a short one, 
and from once to three times the length of a consonant. In the 
w r ord stray the vowel is about as long as the three consonants. 
The Avord steam is easily spoken in half a second. It may be di- 
vided, as to time, into three parts, thus, st-e-m. This makes s and 
t each one-twelfth of a second long, and the e and m each one- 
sixth, and indicates that short vowels are about a twelfth. A 
considerable portion of these times are taken up in changes of 
configuration, — in passing from one letter to another. 

37. I have noticed foreigners sometimes make longer vowels 



DEFINITIONS. 21 

than we do. The prolongation of a sound is easily noted on paper 
by adding letters. Thus a sesquilength vowel is shown by putting 
a long and a short letter together ; a double length sound by two 
long ones, etc. The consonants, which, by some, are called con- 
tinuants, can likewise be drawn out ; and if so, may be represented 
in a like manner. 

DEFINITIONS. 

38. A simple vowel is one whose sound remains the same 
throughout its utterance ; or, what is the same, one which is uttered 
while the position of the organs of speech remain unaltered. 

While uttering a compound vowel or dipthong, the position of 
the organs change, and consequently the sound changes. 

A pure vowel is one whose utterance is clear, unattended with 
hissing, roughness, or rolling ; one free from any peculiarity arising 
from the approach of the organs toward a consonant. 

An impure vowel is one whose sound is modified by the near 
approach of the organs toward a consonant, whether the conso- 
nant is heard in the sound or not. 

What is called a nasal vowel is one which is uttered while a 
part of the sound from the larynx passes into, or through the 
nostrils. 

OF THE ENGLISH VOWELS. 

39. Orthoepists are not agreed as to the number of simple 
vow r el sounds which our language contains. The number usually 
reckoned before Phonetics became agitated, was twelve, as heard in 

123 4 56789 10 11 12 

eat, in, age, end, at, art, on, all, un, old, f?/ll, poor; 
and four diphthongal sounds as heard in pme, tune, noise, town. 
They were divided into long and short ; the 1st, 3d, 8th, 10th and 
12th simple, and the diphthongal sounds being considered long, and 
the others short. 

We are just now in search of pure and simple sounds only, and 
of these, mature observation has convinced me that we have but 
ten which are clearly distinguishable by the sound alone ; and that 
all these, with two exceptions, are both long and short. My 
scheme is shown in the following table. The new r characters in 
the table are the letters to represent the sounds of the Italic let- 
ters in the words opposite to them ; 



22 



2 




ENGLISH VOWELS. 




No. 40. 








Number, 


Form 


). As heard in. 


French. 


1 Long, 


1 


eve, deep, 


He, vie, 


1 Short, 


"l 


evoke, depart, 


fini, 


2 Long, 


-i 


(pitying,) 




2 Short, 


i 


it, ptty, 




3 Long, 


r 


aim, rave, 


fee, ydi, 


3 Short, 


r 


amuse, ravine, 


sujet ete, 


4 Long, 


b 


(e'er,) 


meme, 


4 Short, 


b 


end, sell, 


bee, 


5 Long, 


h 


are, grasp, branch, 


faire, 


5 Short, 


\ 


at, carry, 


mal, 


6 Long, 


<* 


art, calm, father, 


dame, 


G Short, 


t 


market, barrow, 


madame, 


7 Long, 


t> 


all, warm, loss, slaughter, 


patre, 


7 Short, 


i 


on. got, borrow, 


pas, mol, 


8 Long, 


k 


learn, nerve, 




8 Short, 


\ 


ufy swn, farrow, 


( V eu ? >) 


9 Long, 


d 


old, hole, 


eau, 


9 Short, 


d 


obey, whole, only, hollow, 


mot, 


10 Long, 


b 


ooze, move, pool, too, 


jowte. 


10 Short, 


\j 


full, pwt, foot, to, 





41. The first sound in my scheme is probably always long when 
accented, and when in monosyllables ; in unaccented syllables, as 
in the examples, it is short. It is true the e, in such cases, is fre- 
quently sounded like short i ; thus, demand is pronounced as if 
written dimmand ; but good speakers give to the vowel the same 
sound as e long ; that is, it is e short, and not i short. The Scotch 
generally give this sound first short to i and y in such words as 
ability, city ; and the short i in French has always this sound. 

42. I believe we have no word in which the second sound is 
long. We make it pretty closely by putting two short i's together, 
as in carrying, ra%zng ; but in these cases there is, theoretically, 
an intermission of sound between the vowels, so as as to break 
them into two syllables, and therefore they should be written with 



ENGLISH VOWELS. 23 

two short i's, and not one long one. I have noticed Germans 
make this sound long in asking for myrrh. 

43. The third sound, like the first, was formerly thought to be 
always long, but like it, it is short when ending unaccented sylla- 
bles, as lament, Sunday. We have properly, as I think, no words 
wherein the fourth sound is long, unless the one in the table. 
Some modern Phoneticians, however, have provided it with a char- 
acter to be used in earth, etc. That sound long is common in 
French ; and there may be some districts in England where it is 
given to care, -pair, etc. 

44. Mr. Joseph E. Worcester, in his Dictionary, among other 
sounds for a, has one for fat, man, carry ; another for fare, pair, 
bear; and still another for fast, branch, grasp. As far as I 
have noticed, people very generally speak these words all alike, 
as to the sound, only making fat, man, carry, short, and the 
others long. The difference in length has been mistaken, I be- 
lieve, by many orthoepists, as it has been by myself, for a differ- 
ence in sound. The a in fat, pan, and carry, is short ; in fast, 
pant and care it is the same sound lengthened. There are a 
few, however, in this country, and I suppose more in England 
who do pronounce grasp, &c, a shade broader, approaching a 
in father. But is it politic to establish a distinction which is 
perfectly useless, which the multitude does not countenance, and 
which is too slight to be generally noticed when made ? An 
Alphabet made for the people of all nations must be simple and 
short ; and its distinctions broad enough to be obvious to the 
dullest intellects. Nice discriminations and shades of difference 
would be not only entirely unnecessary and out of place, but 
would be great impediments to the introduction and use of the 
alphabet. And if words should be made to depend for their 
meanings on such discriminations, the mischief would be im- 
mensely increased. 

45. The foregoing observations will also apply to my seventh 
sound. Owning, naught and caught are long ; on, not and cot are 
short. Some persons may give the long vowels a deeper intona- 
tion, but the difference they would make is entirely too slight to 
found a distinction on, as to the sound alone. If you pronounce 
naught short enough it will be not. 



24 EXGLISII VOWELS. 

46. I believe tlie eighth sound is short in all cases where it is not 
followed by r, and in some cases where it is, as in the word hurry. 
In fervid, bwrn, and such words it seems to be long, and is gen- 
erally considered so; but a question may be raised whether the 
u in these cases is not really short, and its apparent length due 
to dwelling on the liquid r; or rather on the impure vowel 
sound between the pure u and r. (See impures Nos. 57, &c.) 

47. The ninth sound is most evidently short as well as long, 
even in monosyllables, though not marked so in the diction- 
aries. Every good speaker in this country makes a manifest differ- 
ence between hole and whole, known and none, quote and coat; 
while he equally avoids the Yankeeism of saying hull for whole, or 
stun for stone. This short o in whole and stone is what Mr. 
Ellis would call a stopt o ; but he does not acknowledge it in 
English : he acknowledges the brief o. 

48. I am aware that in my last number, as well as in the fifth 
and seventh, I have brought together two vowels which are made 
to differ frequently in sound as well as in length. The sound 
we often hear given to full, if prolonged, does not become fool, 
but is more open. The difference is so small, however, that if 
we shorten the latter sound it seems to coalesce with the former. 
The sound we often hear spoken in wood, hoop, &c, is identical 
with the longer one in fool, &c. So that the distinction in 
these two classes of words should be attributed to difference of 
length and not of sound. 

All the above vowels are here considered as being strictly sim- 
ple, that is, as having no variation of sound during their utterance. 
Some speakers do make a slight diphthongal or cadential ending to 
a few of the long vowels. Of these I shall speak in another place. 

49. This scheme, then, presents ten pure and simple vowels, 
each clearly distinguishable from the others, while yet they are 
80 close together that a sound cannot be interposed between any 
two adjoining ones without confusion. I would make these vowels 
the standard not only for our language, but for others. And 
where a shade's difference is to be noted between one of our 
vowels and a foreign one, let it be done by some nob, or vari- 
ation of the figure. Foreign impure vowels will come under a 
different category. 



25 



NASALITY. 



50. If, during the utterance of a vowel, a part of the sound 
from the larynx is sent through the nostrils, that part is called 
a nasal sound, in contradistinction to that from the mouth, which is 
called oral. Both sounds taken together are called orinasal, and 
have been frequently, though improperly, called nasal. The two 
sounds are readily distinguished by the ear. The nasal sound 
proper is variable by intonation, but not by vocality. A sub- 
nasalism, or sound in the nasal cavities can also be produced when 
the nostrils are closed. All the oral sounds, pure, impure, and 
diphthongal, and the sounding consonants, may be combined with 
nasality. In fact there is usually a slight vibration of sound in 
the nasal cavities in pronouncing our common vowels, and the 
sounding (tonic) consonants, as we can discover by holding the 
nose, and thereby interrupting the sound and producing a nasal 
twang. 

51. We want no new letters to represent nasal vowels as they 
are called; but either some simple badge attached to the vowel 
letters, or a simple and uniform modification of their forms, to 
indicate that nasal sound is to be superadded. Although the nasal 
mark belongs to the letter itself, and should be considered a part 
of it, yet as it would be expensive and inconvenient to have 
another set of types for such vowels, I have adopted the plan 
of representing them by a square dot, or short upright mark on 
a separate type to be placed to the right of, and in juxtaposition 
to the letter, and at the same hight, thus"!' . 

52. I know of no language, but the French, which uses this 
kind of vowels. They have four, as heard in their words fin, 
chant, brun and bon. And as these four are all the nasal vowel 
letters now needed, they may be accommodated with separate type 
having the nasal marks in the vacant places, thus, S ? S 9 • 

53. I have seen some blundering descriptions of these French 
nasalized vowels, even to confounding them with the nasal conso- 
nants. There is no difficulty, as I believe, in making them plain 
to the comprehension of those who have never heard them. The 
letters m, n, and ng, are p, t, and k, with nasal sound added. 
This sound commences with the consonant and ends with it. It 
belongs to the consonant alone. But the French nasal vowel 



26 DEEPENED SOUNDS. 

sound belongs to the vowel alone. It begins and ends with it, and 
there is no consonant after it. Take our word fan ; it has three 
elements, f, a, n. The last one, however, might be called a double 
element, as it is t with nasal sound added. But the a is pre- 
cisely the same in fan as in fat. It is not nasal in either. Now, 
if you pronounce the first two elements, f, a, with a full, strong 
voice, at the same time letting a part of the a sound pass through 
your nose, you pronounce the French word fin ; and that is all 
there is of it. 

DEEPENED SOUNDS. 

54. While the particular configuration of the organs by which 
any vowel, (e for example,) is formed, remains the same, or nearly 
so, the posterior cavity of the mouth may be deepened, and the 
palate drawn further back. These changes will have the effect of 
deepening the sound without changing its main characteristics ; 
and while the tone or key note remains the same. That a deep- 
ened sound is not a depression of tone is made evident from this, 
that singers often deepen their sounds as above indicated, while 
they must of course accord in tone with those singing with them. 
Vowels are often deepened in speaking, and no attention paid to 
the difference. Many teamsters tell their horses to steady or stop, 
simply by a heavy, prolonged, deepened sound. 

55. The French sound in je me, which by some is supposed to 
be the same as u in tub, is, or was originally, I have no doubt, the 
deepened sound of e in met. The same sound is frequently given 
to our the when spoken rapidly. The sound in les mes j'avaz's, etc., 
I believe to be the deepened sound of a, but it is difficult to dis- 
tinguish it from the sound of e in met lengthened. 

56. The barytone or deepened sound is denoted in a way similar 
to the nasal, with this difference, that the stroke, instead of being 
upright, is to incline in the direction ^ . Thus the sound in je 
would be |"" x . This barytone mark may be on a separate type ; or 
if the two French sounds | and h are all that are to be shown as 
deepened, let this showing be done by putting the marks on the 
same type in the vacant places, thus [^ , fc . 



27 



IMPURE VOWELS. 

57. Under the head of impure vowels, I include all such as have 
their sounds modified by the near approach of the organs to the 
configuration of one of the sounding consonants, namely, w, v, dh, 
z> y, zh, r, 1. 

58. It is evident, not only that such sounds can be made, but 
that we are constantly, though unconsciously, giving them utter- 
ance while speaking ; for the transition of the configuration of 
the organs for one letter to the configuration for another, can not 
be instantaneous, consequently, as there is a continuous issue of 
voice during the change, there must, of course, be a continuous 
change of sound ; or, in other words, there must be a continuous 
series of sounds, ranging from one fixed configuration to the 
other, each sound indefinitely short, and varying in an indefinitely 
small degree from the next. Wherefore, if in passing from a 
vowel to a consonant, or vice versa, we arrest the change about 
half way, and continue the sound, we shall find it neither a proper 
vowel or consonant. 

59. We want no character to denote the mere passing from one 
letter to another. It is only when a go-between sound is dwelt upon 
that we need one. And then the form of the character should 
partake of, or combine the forms of, the letters it is between. 

60. There are three impures which extensive use has rendered 
important. These are the only ones I shall make characters for. 
The first is the sound commonly given to er at the end of English 
words. This is an impure between u in up and r. Premising that 
my letter for r will be f , the combined letter formed according to 
the above suggestions, will be ^-. 

61. The French u, as in vu, is an impure between e and w. 
The Germans have the same sound in iiber, and the same short- 
ened in hiitte. Any one who has not heard the sound can pro- 
nounce it by fixing his lips as if to whistle, and then trying to 
sound e. Premising that w will be shaped thus ^, the form of 
this letter will be \J. As frequently spoken, this sound would 
be better represented by \( , that is, i as in pin, and w. 

62. The other impure is the French eu as in feu. This sound 
is |", or the deepened e in met modified by w ; but the lips are 



28 



ETC. 



not brought so closely together as in speaking ft. The figure for 
this sound is ^ . 

VARIATIONS OF SOUND.— DIPHTHONGS. 

63. In the ordinary concurrence of two sounds in a word, as in 
civrtto, going, react, each is sounded at full length, and there is no 
stop or drawing off of the voice at the end of the first, until the 
organs are put in position for the second; but the voice continues 
throughout the transition. The same, too, in the transition from 
a vowel to a consonant, and from a consonant to a vowel. These 
transitions, however, are made so rapidly that the vocal sounds 
uttered during them, are not appreciated. Thus, in the word 
going we appear to hear only the sounds o and i, and nothing 
between them. But it is evident there is a curved sound, as it 
were, or an indefinite number of indefinitely short sounds made 
between them. (See No. 58.) In all these cases, the two vowels 
thus associated are considered as perfectly distinct, and are to be 
described (written) simply by their two vowel letters. I shall 
call them adjoining vowels, to distinguish them from what I shall 
now describe as diphthongs. 

64. A diphthong proper differs from adjoining vowels in this, 
that instead of the two simple beginning and ending sounds being 
the only ones heard, they are shortened up so as scarcely to be 
heard at all, while the intervening ones, (the curved sound,) form 
the prominent feature of the combination. The reader will see 
that a diphthong is not a blending of two sounds into one uniform 
sound, as two colors may be so mixed as to become one, for this 
can not be done ; but it is the passing from one sound to another. 

65. An obvious mode of expressing any diphthong whatever, is 
to write it by its continents, the outside letters, with some uniform 
sign attached to them, or change in them, to show that they are 
not simple vowels, but slides. I adopt the plan of showing a 
letter to be a slide by separating it by a cut in two places, taking 
care not to mutilate it so but that the figure can be readily recog- 
nized. Examples will be seen in what follows. By this simple 
contrivance all diphthongs, and triphthongs too, by using three 
letters, may be described. 

66. The theoretical number of possible diphthongs is equal to the 



ETC. 29 

number of permutations of two letters each, which can be made 
with the simple vowel letters. A very few out of this great num- 
ber, however, can ever be of any practical service. The others 
can not be distinguished to the ear from short adjoining vowels. 

67. There are, in English, four generally acknowledged diph- 
thongs. These are 1, oi, u, and ou. 

I is spoken variously with the continents ^ J ,> ( \ and \ "]• 
It appears to me that { "\ are the usual ones; but the first is 
difficult to determine, because the slide commences with the incep- 
tion of the sound, and goes rapidly to 1, where there is a mo- 
mentary stop. As Mr. Ellis, and others, take ^ for the first 
continent, I shall adopt their view. The proper expression of the 
diphthong, then, according to the foregoing plan of notation, is 
s , i, that is, the first continent divided, the other not. 

68. The German ei, is the same as the above. Their ai has for 
its continents f i, and yet it is quite a different sound, for the 
reason that they dwell on the first, and not on the last continent. 
The Greek alpha iota and the Latin se ( ae,) are probably like it. 
The German eu sounds something like our I, but the mouth is less 
open. Its first continent is \ or f , its last the French u. 

69. Our oi, (in toil, bo?/,) is very like a double vowel. The 
continents are \ "I, and like the German ai, the first one is dwelt 
on before sliding toward the last. Its proper expression is f ""]. 

70. The continents of u (as in new,) are "| [), the last one 
slightly dwelt on. Its proper expression then is "j [/. When u is 
sounded as in use, (yuse,) there is, of course, a y before it. 

71. The proper continents of our diphthong ou are either ^ \) 
or f 1 (j. In some parts of New England the sound is flattened 
into r [)' The last continent is a little dwelt on, and sometimes 
the first. The best expression, I suppose, is s , \j. 

72. These four, (i, oi, u and ou,) I propose to furnish with single 
characters. 

The horizontal and curved parts of the vowel marks being the 
most essential in designating their sounds, we will call their char- 
acteristics. By combining the characteristics for the continents 
of i, and retaining the upright part common to both, we have the 
form "^ . And this would be the proper single character for i, but 
for the consideration that the characteristic for the first continent 



30 

comes at the bottom and at the right hand of the figure, and 
bonce appears to be the last end of it; and in writing it would 
be the last part written, instead of the first. To obviate this 
defect I place the first characteristic at the top, and then comes 
the following figure ""}, which I adopt for the sound of I. 

73. The characteristics for the continents of oi, and the vowel 
post common to both, when combined, form -f' , which is adopted 
for that sound. 

74. The characteristics and post for the continents of u com- 
bined make ~\) , which is adopted. 

75. The combination of the characteristics for ou produce "\j . 
By writing the first letter in full and adding the upward turn for 
the last, we have the figure \j . Either would answer; but as these 
figures are not "so compact, I prefer to adopt for the first continent 
of the dipthong, the broader sound /. As the slide should start 
with the sound, the difference is hardly perceptible. This give3 
the diphthong the figure Q. 

76. As an easy way of expressing two of the values of our u, 
I have put two compound vowels in my full alphabet. The first is 
the diphthong u preceded by y, as in use, unit; and the same when 
unaccented, as in imite, gradual. The figure for this is the- oo to 
which the horizontal portion of a y is prefixed, thus "]) . The other 
letter is the -short u preceded by y, as in fortune. The figure for 
this is "V 

77. Diphthongs are usually spoken in the same time as long 
vowels. They are somewhat shortened up when unaccented, as 
will be noticed in speaking the words dire, direct, dure, dwress. 
Like simple vowels, they can be shown to be short by narrowing 
the letters. 

78. Mr. Pitman, in his recent publications, discards all double 
letters.* He even writes the foregoing diphthongs by two letters 
each. We cannot ask an Englishman to come here to learn how 
to pronounce his own language, but we can say the separate 
sounds in en, in, put together in Mr. Pitman's mem make sorae- 

* Since this was prepared for the press I have seen a November 
number of the Phonographic Review. On the inside of the cover 
is the Alphabet, in which i, oi and ou have single characters ; the 
u is made by two. This is probably the latest English arrange- 
ment. 



CADENCE AND DIPHTHONGALISM OF SOUND, ETC. 31 

thing widely different from our mme : so does his two sounds of 
o u make something different from our ou. I think Mr. Pitman 
has not sufficiently studied the distinction which should be made 
between adjoining vowels and a diphthong, (See Nos. 63 and 64.) 
Adjoining vowels always make two syllables ; a diphthong is never 
cut into two. This consideration alone shows that two vowel let- 
ters not marked as slides, cannot properly represent a diphthong. 
A diphthong is not two sounds, but one compound sound; and 
therefore there seems to be a propriety in representing it by one 
letter compounded of the letters for the principal sounds heard 
in it. 

79. I leave the fixing foreign diphthongs to others better ac- 
quainted with them. There can be no necessity for augmenting 
characters for such ; for all diphthongs whatever can be correctly 
and exactly expressed by the modes I have described. What I 
have attempted, (and what I think I have succeeded in,) is to fur- 
nish such principles and directions, that any person, who is ac- 
quainted with the sounds of a language, can write them with 
accuracy ; and any person who has never heard them can read 
them thus written, and speak them aright. 

CADENCE, AND DIPHTHONGALISM OF LONG VOWELS. 

80. We frequently hear a kind of secondary effort in pronoun- 
cing long vowels, and sometimes, too, in pronouncing short ones 
at the end of a sentence. With some speakers it is a cadence, 
or tapering off, produced simply by a depression of tone. With 
others it is a change of sound, a sliding of voice, forming a kind of 
diphthongal ending to the main sound. This is practiced more in 
England than in America. Here, I believe, it is regarded as a 
patois. This way of speaking changes e into ei, a into Bi, or ei, 

into o-oo. In the original Saxon, (once written more Phoneti- 
cally than at present,) it is probable that such words as nuii/, ( like 
jo?/,) had a diphthongal ending, which was expressed by the letter 
y. More rarely we hear a softener at the beginning of a vowel. 
Thus garden is changed into gyarden. 

81. It is not my business to approve or disapprove of these 
slides ; but to show how they may he expressed. The directions 
for diphthongs, No. 65, will cover all these cases. For example, if 

1 wish to show a diphthongal ending to the word may, I add the 
slide for i to the long a, ( thus f" 1-) If I wish to show my pronun- 
ciation of guard to be gyard, I put in the sliding i before the a; 



II OBSCURE VOSTBLS, 

or if I wish to show it still stronger than that will make it, I put 
in the letter for y. 

Diphthongalism among nasals, and deepened and impure vowels, 
and changes from either to pure, or the contrary, may generally 
be managed according to the foregoing directions. 

OBSCURE VOWELS. • 

82. The momentary, dull or subtonic sounds frequently heard 
in short unaccented syllables, where the speaker passes rapidly 
from consonant to consonant, paying no attention to the sounds 
he utters between them, have been termed obscure, ( because no 
clear sound is heard,) and have been a perplexity to orthoepists 
and phonographers, on account of their indefiniteness. A proper 
case of this kind is where there is a sound uttered which is not 
due to the consonants themselves, and yet no clear vowel is ut- 
tered. The reader, by noticing what is said in No. 58, will be 
able to understand how it is, that a change of configuration from 
one letter to another, with a constant emission of sound between 
them, can take place, and yet no clear, definite vowel sound be 
uttered. For in no part of the change is there a configuration of 
the organs free from approximation to a consonant, and therefore 
the sound, or any portion of it, is impure, and bears more the 
character of a subtonic Jhan a tonic. 

83. Extreme precision in representing these sounds would re- 
quire characters for them, composed of their containing con- 
sonants, (continents,) somewhat after the manner described for 
diphthongs, (No. 65.) But such niceties are inadmissible in a 
practical alphabet. 

84. It should be borne in mind that the written form of a word 
should present the clear, full, deliberate utterance of it. In most 
instances of these obscure sounds, therefore, the proper short 
vowel representing the short sound of the Roman letter by which 
the sound is now written, should be used. Such, if there should 
be any, which cannot be written with proper vowels, might be 
practically represented by an obscure vowel mark, thus shaped J. 
This sign would not represent a definite sound, but represent 
that the sound to come in at that place is short, unaccented and 
indefinite. 



CONSONANTS. 



33 



85. There are other cases where the sounds are entirely, or 
almost entirely, suppressed ; as between pn in open, sn in chosen, 
pi in apple, vr in over. Such cases Mr. Ellis writes with an 
apostrophe, thus, op'n, cat'l. In these cases, that is, where there 
is an entire suppression of all intervening sound, except the sub- 
tones properly belonging to the consonants, I would prefer to 
write neither vowel mark nor apostrophe ; for if we obey strictly 
the phonetic principle, we must make no mark for a sound where 
there is none. I do not condemn the apostrophe, if by it is signi- 
fied that there has been, or should be, a sound there, which is not 
now uttered ; though it can hardly be necessary to give the reader 
such information every time the word is written. 

I would use the apostrophe only to signify the possessive case, 
and the contraction of a word ; thus I would write M'r instead of 
Mr. for Mister. 



CONSONxVNTS. 

A TABLE of the Simple Consonants Systematically Arranged; 
with Analogical Forms. 









Gingival, or 


Palatal, or 




No. 


86. 


Labial. 


Linguigin- 
gival. 


Linguipal 
atal 


Guttural. 




Power of 

Analogical 
Characters. 


Power of 

Analogical 
Characters. 


Power of 

Analogical 
Characters. 


Power of 

Analogical 
Characters. 




Atonic, 


w_, 


• rw 


w-"- 


WW 


« f 


) p 


1 t 


C k 


< he 


M 


Tonic, 


1 b 


L d 


C g 




? { 


Nasitonic, 


)- m 


1- n 


€ ng 




* f 


Atonic, 


> ph 


h th 


ch 


h 




Tonic, 


i vh 


t dh 


d gh 




r I 


Tonic, 


K w 




& 7 


C r 


SP f 


Atonic, 


\ f 


V 1 


sh 


C nl 


P\ 


Tonic, 


k V 


k ■ 


fc. zh 


Q. i 



34 CONSONANTS. 

THE CONSONANTS ARRANGED IN TABULAR FORM. 

87. This table, (No. 86,) I believe comprises all the proper con- 
sonants that can be uttered. Some of them will run into each 
other, and of course many variations can be made ; but I think 
these are all that should legitimately be called simple consonants. 
As with the vowels, so also with these, Mr. Ellis makes out a far 
greater number than I do. This is owing to his making distinc- 
tions where there are but small differences. Thus, beside the soft 
breathing, which is not heard as breathing at all, otherwise than 
as sound, he has five others, (p. 39 and 40,) differing principally 
in the force of their enunciation, all of which are symbolized by 
the letter h. The hamza, (to be explained No. 100,) he divides 
into the break, and hiatus, which is an " exaggerated break." 

88. The letters of the table taken vertically, are divided into 
four classes, each column being a class. The letters of the first, 
( the Labial class,) are made by the lips, or lips and upper teeth. 
Those of the second class, ( Gingival,) are formed by the tongue 
and gums back of the upper teeth. Those of the third, ( the Pal- 
atal,) are formed further back in the mouth, by the tongue and 
palate, or roof of the mouth. And the fourth class, ( Guttural,) 
farthest back of all. 

89. Considered horizontally, the letters are grouped under the 
names of close, rough and soft. The close letters have been 
called explodents; the others whispered and spoken, consonants, 
liquids, etc. 

90. All the consonants are either atonic or tonic. The tonics 
are all oritonic, except the three nasitonics. By atonic letters I 
mean such as are whispered. They are without sound or tone in 
themselves ; and by tonic letters I mean such as are accompanied 
by a sound or subsound. It is well known that most of our con- 
sonants are divisible into pairs of letters, or couples, having the 
same articulation, and differing from each other only in the above 
respect. 

91. There can be no resemblance between a spoken letter and 
its representative on paper. The two are essentially and totally 
different. We can not paint a sound. The letters that we ifse, 
as to their shapes, are taken arbitrarily to represent the spoken 



CONSONANTS. 35 

elements. The most direct way of representing a spoken letter, 
is to make a pictorial sketch of the situation of the organs in 
uttering it. This can only be done with respect to the conso- 
nants, or some of them. The vowel sounds must still have arbi- 
trary representatives. The sketching would be done thus : a 
sectional view of the lips closed would denote p. If sound was 
represented by an arrow-head, the closed lips and the arrow-head 
inside of them pointing toward the closure, would stand for b, 
( i. e. p plus sound.) The arrow-head pointing upward toward the 
nostrils, with the lips closed, would signify m. The lips slightly 
parted would indicate ph, ( not f.) The arrow-head added, point- 
ing to the opening, would show vh. The lips protruding, open, 
and the arrow-head would show w. A section of the upper teeth 
and gum, with the tip of the tongue against the gum, would be t, 
etc. Such drawings can never become practical letters without 
simplifying them so much as to destroy the resemblance between 
the picture and the letter. 

92. But there is another basis for constructing letters, which I 
should wish to have carried out, did not other considerations im- 
periously forbid it; and that is to assume some simple geometric 
forms for simple principles, and always use them for such. On 
this basis I have formed the characters in the foregoing table, No. 
86, so as to make them analogical representatives of the conso- 
nants, to show the relationship existing between them. They are 
not to be the common printing letters, which must be more simple, 
better looking, and more in harmony with the writing letters. 
These will be shown in the table No. 104. 

93. To form the Table No. 86, I assume the figures ), |, (> 
and ^,, for characteristics of the four classes, (No. 88,) and as- 
sume a short, horizontal mark for tonicity ; at the bottom of the 
characteristic for oral, at the middle for nasal ; and assume an 
oblique mark for breath. With these the whole table is made, as 
will be seen by the following description. 

94. The first class has the mark ) for its characteristic. The 
atonic p, the simplest letter of all, is this mark alone. The addi- 
tion of the oritonic mark to this letter, thus, i. , makes b, ( i. e. 
p plus sound.) The addition of the nasitonic mark, thus, )- , 
makes m, ( i. e. p plus nasal sound.) The audible passage of air 



36 CONSONANTS. 

through the lips makes the letter ph, unknown in our language. 
We have, it is true, the digraph ph, (as in the word digraph,) 
but we pronounce it the same as f. The letter ph is supposed to 
be the Greek * phi. It can scarcely be distinguished by the ear 
from our f, which is produced by passing air between the under 
lip and upper teeth. As the ph is p plus passing breath, it was 
originally denoted by adding h, the rough aspirate to p. It is 
symbolized in the table by an oblique stroke started from near the 
top of the characteristic, and drawn in a downward direction. 

95. The ph has two tonics. The proper one, vh, is also un- 
known in our language. It is used in Germany, and by some 
Germans for our w. This letter ( = ph -f- tone,) is, of course, 
formed from ph by adding the tone mark. The other tonic for ph, 
which may be called its casual tonic, is our w, and is a variation 
of the vh. In speaking the w there is a slight protrusion of the 
lips, and an effort toward making the opening between them circu- 
lar. The whiz of the vh is scarcely heard in the w, while the tone 
is a deeper murmur resembling the sound oo, closer, of course, 
than the pure vowel, but so plain as to make it the main feature 
of the letter. It is, as it were, a concrete oo. 

96. The attempt to pronounce e with the lips fixed for w pro- 
duces the impure French u, the concrete of which is vh. This 
concrete may vary in a slight degree from the ordinary vh, ( which 
has the edges of the lips close to the teeth,) but not more than 
many other letters are capable of varying without changing their 
names. 

97. A change in the manner of passing breath through the lips, 
making f, is indicated by a change in the direction of the oblique 
mark, thus y . Its tonic v is V . 

98. This explanation of the formation of the first class will do 
for the whole, for in a similar manner are the letters of the other 
classes formed from their characteristics. 

99. I have sufficiently explained the letters of the first column 
while speaking of their relationships ; some of the others will 
need a few words. The letter marked ' th is heard in thm : its 
tonic, dh, is heard in this. The nasitonic of k, ng, is heard in 
sing. The letter indicated by ch is not in our language, but com- 
mon in the German and some others. The English scholar may 



CONSONANTS. 37 

know it by its being the asperate of k, ( = k + breath.) Like ph, 
it has two tonics. The proper one, gh, is heard in the German 
seli^r, koeni^r. The casual one is our y. The ch, like some other 
letters, is capable of considerable variation. When preceded by a 
low vowel, as in the German buck, it is more guttural than when 
preceded by a higher one, as Ich. The tonic of the most guttural 
one is always gh. The tonic of the high one is y, ( as in yet,) and 
this is the concrete e. The soft atonic of k is heard in shall; the 
soft tonic in azure, vision. 

100. The mute guttural marked he, is produced by closing 
down the epiglottis, or top of the windpipe. It is uttered in 
coughing, in groaning, and very forcibly when the breath, having 
been pent up during exertion, is suddenly and audibly let loose. 
A cough is a spasmodic effort of this kind. Mr. Ellis says this is 
the Arabic hamza. His own name is " the break," and when 
strongly expressed, " the hiatus." He gives an example of its 
use by a London Cockney, as follows, the colon standing for the 
hamza or hiatus: " On : iz hone: ee neve: saw e :ous like this ere 
:ous, neve:," [On his honor he never saw a house like this here 
house, never.] The hamza can be spoken about as easily and as 
distinctly as the other mutes, and hence it is a good letter. I 
have heard several persons use it occasionally in place of t or c, 
apparently because they were too lazy to pronounce the proper 
letter. As the closure of this letter is formed just over the larynx, 
and below the openings into the nostrils, it has no corresponding 
tonic and nasitonic letters. 

101. H is the true asperate of the above letter he, and hence 
it is a proper letter, ( which some have doubted.) It is the audible 
passing of breath through the epiglottis, and along the upper pas- 
sages, and mouth, unobstructed by other letters. It can be uttered 
at the beginning and end of vowels, and before and after conso- 
nants. It is often necessary to the full pronunciation of a mute 
or close letter ; as in the word oft, pronounced oft-h ; and in such 
cases it has been called a post whisper. The letter h, ( explosive 
breath,) has to follow the mute, to indicate to the ear of the 
hearer the kind of mute used. Breath only is frequently used in 
place of a short and obscure vowel. Thus the word often is fre- 



$8 CONSONANTS. 

quently pronounced oft-hn ; sometimes it is shortened into of'n. 
The Irish put the h into a multitude of words. 

10:2. The letter r is placed in the table as being the tonic of h. 
It does not seem to be very properly so, tho' it is the only tonic 
the h has. The atonic of the common r seems to be a guttural 
somewhat between h and ch, a very rough breathing. The trilled 
or asperated r is not properly a simple consonant. Its asperation 
can be shown by putting an h before it, or by a double letter 
shaped thus, ^f . 

103. To pronounce 1 the tongue must be in contact with the 
roof of the mouth, while sound passes by the sides of it. It is 
the purest specimen we can get of laryngal sound unmodified by 
reverberation in the mouth. The letter I have marked hi in the 
table, that is, the proper atonic of 1, is, of course, a passing of 
breath instead of sound, while the organs remain the same as for 
1. It is difficult to pronounce this hi in connexion with a vowel 
without sounding 1 between them. The Welsh 11 is not this atonic 
1, as it is said to be. I have had several Welshmen pronounce 
their 11 for me, and they made it the same as ch, ( which they also 
have,) except that it is still more guttural. The table begins with 
p, the most external and close atonic, and ends with 1, the most 
internal, open, and soft tonic. 

104. The table which follows has the letters in their proper 
shapes in place of their analogical characters in Table No. 86. 
In this table every letter stands in its proper place, classified by 
the heading at the top, and described by the words at tin left 
hand side. 



ANOMALIES. 



A TABLE of the Simple Consonants Systematically Arranged. 



No. 104. 


Labial. 


Gingival, or 

Linguigin- 

gival. 


Palatal, or 

Linguipal 

atal. 


Guttural. 




Power of 

Analogical \ 
Characters. J 


Power of 

Analogical 1 
Characters. ) 


Power of 

Analogical ) 
Characters, j 


Power of 

Analogical ) 
Characters. } 




r 

Atonic, 


o P 


l . 


Co 


^ he 


o - 
m 

CD 


Tonic, 


1^ 


J * 


Ia g 






Nasitonic, 


rt.ni 


1» 


R, n g 




w 


Atonic, 


\ po 


P * 


f ch 


s. k 


O 


Tonic, 


\fvh 


B db. 


Z gh 






L Tonic, 


^w 




7 y 


c . 




Atonic, 


v< 


8» 


6 sh 


tf hi 


P] 


^ Tonic, 


Vv 


g ■ 


2 »h 


Ui 



ANOMALIES. 

105. I have already said that several of the consonants will run 
together, and that anomalous sounds can be pronounced between 
two proper letters. It would seem to be not only unnecessary, 
but in bad taste, for a language to make use of such sounds when 
we have such an abundance of proper letters already furnished ; 
for if a language were to be made comprising a thousand times 
the number of words in any present one, the present list of simple 
vowels and consonants would be amply sufficient for it. But as 
my system may appear defective, unless it can write all the 
sounds of the principal European tongues, I must notice such as I 
know to be in use. 



40 



ANOMALIES. 



106. TJie French gn Liquid. Perhaps the nearest we can come 
to agneau with the English power of our letters, is ang-nyo; but 
this is not precisely the thing. From the specimens I have heard 
of this liquid, gn, I believe the following to be a true analysis of 
it. If the reader will pronounce n, ( en,) in the usual way, put- 
ting the fore part of the tongue to the upper gums, and afterwards 
pronounce it with the tip of the tongue on the lower gums, while 
the middle portion of it only is in contact with the upper gums, 
or roof of the mouth, he will perceive a manifest difference of 
sound, though the last is evidently n. If, keeping the fore part 
of the tongue down, he makes the contact between the tongue and 
roof further, and then still further back, he will come to a point 
where the sound appears no longer as n, but as ng. Now this gn 
I believe to be a mongrel engendered between the letters ng and 
n. Most of those I have had to pronounce it for me, have worked 
it as though they had a thick tongue, making a continuous con- 
tact with the roof of the mouth from ng to n. Sometimes I 
would hear a slight g before the nasal. The break of the con- 
tact, supposing a vowel to follow, would commence on the ng side, 
making the sound slide slightly toward n ; but finishing the break 
in such a betweenity that a slight y must necessarily follow be- 
fore the succeeding vowel could be pronounced. 

The figure of this half-way letter, then, should be something 
between the form of ng and n, as this, C. 

107. The French 11 Liquid, or -ille. Possibly the reader has 
listened for half an hour to a French master showing him that 
sometimes these letters are pronounced so , and so , (giv- 
ing examples in French words,) and sometimes they are not pro- 
nounced at all, so . And in following his guide in the latter 

case he may have been puzzled to make out he had such a pudding 
in his mouth, that, with his best efforts toward the utterance of an 
1, he could not accomplish it. Nor could he see clearly into the 
reason given, why he should try to pronounce a letter as it were, 
and yet omit to pronounce it at the same time. In the former 
case he may have astonished his teacher at the close of the lec- 
ture, by what, to him, seemed a plain question, enunciated in 
something like this form: "If you make an 1 out of an 1 at all, 
why don't you let it stay an 1 ? " 

This peculiar 1 seems to have originated like gn, from a thick 
tongue, or from great carelessness in speaking. In pronouncing 
it the tongue is flattened out more than for 1; the root of the 
tongue is brought closer to the roof of the mouth, while the tip is 
retracted. The "liquid" is preceded by 1, ( = « in English,) 
which is compressed into a y, and is forced along a straightened 
passage where several gutturals seem to be struggling for birth. 
Among them, sometimes, something like an 1 actually escapes, 



DOUBLE LETTERS. 41 

and sometimes it almost does it. In ordinary talk there is no 1 
spoken. The e slides into its concrete, y, and the syllable ends 
there. The next syllable begins with y ; the two y's being equal 
in length to a long vowel. 

Form. The form of the unpronounced 1 I must leave to be 
fixed by the man that painted the angel out of sight. The liquid 
1 being something between y and 1, x>r a passing from y to 1 may 
be shaped thus, "JJ . 

108. Lisping, (lithping,) is the production of a mongrel be- 
tween the clear sibilant s and the rough th. It is used for s by 
those who can not speak the letter plainly; and as it is considered 
a defect, it needs no letter. 

DOUBLE LETTERS. 

109. By a double letter, I mean a single type or figure which 
represents two letters, as the Roman letter j, as pronounced by us 
includes the letters d and zh. It is quite convenient, and almost 
necessary for us to have letters for the four diphthongal vowels ; 
but besides them, we can do without any such combinations in print- 
ing and round hand writing ; in which I think it best not to use 
them at present. I do not, however, seek to influence the ques- 
tion whether they shall ultimately be employed. A few will be 
necessary in brief writing. 

110. Some phoneticians insert tsh and dzh, (j,) in their alpha- 
bets. If put in mine, their genesis will be as follows. The tsh is 
sh, ( <£ ,) with the stem turned down horizontally, and a portion of 
the circular part made straight and upright to represent t, thus, 
Q". The round writing letter is Q**, and the short letter, C7~". 

The printing letters d and zh joined together and slightly 
changed make jr; ; this is the printing j. The round writing let- 
ter is 3"tf» the d part being commenced from the bottom. But to 
join easily to a preceding letter, the lower part of this d must be 
left off; and to maintain a proper discrimination between the 
remaining portion of the letter and y, ( ^ ,) the loop or small 
circle must not be omitted. This loop and the circular portion 
immediately joining it, form the short hand letter Q>. 



42 
CAPITALS, ITALICS, VARIETIES AND STYLES OF LETTERS. 

111. Capital letters, as they are called, or letters larger and 
having different shapes from those in the body of the writing and 
printing) have been used since very early times in the history of 
writing, for headings of discourses, for the first word or first letter 
of a sentence, and first letter in many other words. It is not 
much over a century since English printers commenced every sub- 
stantive word with a capital ; and our grammars now contain defi- 
nite rules for their use. These letters add to the variety, and 
probably, somewhat to the beauty of a writing, but beyond this 
there is but little utility in them. They are seldom or never used 
to change or settle the meaning of a word. Proper pointing will 
always show where a sentence ends : a capital will show where one 
begins. But is such showing necessary ? The first word of a dis- 
course or chapter is frequently put in capitals, and the first letter 
of that word in a large capital, as much as to say, Here the chap- 
ter commences. The fancy is still kept up in some publications of 
making this big letter ornamental, and sometimes of enclosing it in a 
cartoon or case, entirely separated from the other parts of the word. 

112. The universal use of capitals in connection with lower case 
letters, causes them to be regarded as essentials, rather than em- 
bellishments ; and a scheme of writing which would dispense with 
them would be greatly prejudiced thereby. 

113. Many styles of letters, varying from each other in their 
thickness, in the projections from their corners, in their ornaments, 
etc., will be in use: and it will do no harm to call one of these 
styles capital, and another lower case letters. And both of these 
styles may be made leaning, and then they may be called or 
answer for Italic capital and lower case letters. 

114. In conformity with this usage of two sorts of letters in a 
writing, and in order that it can be carried out in my scheme, I 
put two sorts or styles in my alphabet ; the first to be called capi- 
tal or head letters, because they are put at the heads of discourses, 
sentences and words; and the other, body letters, because they 
constitute the body of the writing. Leaning letters and ornamen- 
tal styles will also be made, together with round writing or script 
type, and short writing type. So we can have plenty of variety. 



THE FULL ALPHABET. 43 

115. The capital printing letters are all of the same height. 
The body printing vowels are the same height as the capitals, but 
the body consonants are only two-thirds of that height. The 
writing capitals and body vowels are the same height, and double 
that of the body consonants. Writing capitals are essentially the 
same as the writing body letters, but made larger, heavier, and with 
flourishes. Short vowels are double the height of short conso- 
nants. For the mode of expressing capitals and italics in short 
writing, see No. 136. 

116. The following proportions of parts may serve for common 
printing letters. 

Capital Vowels and Consonants and Body Vowels to be six parts high. 
The height of Body Consonants to be four parts ; 
The width of Long Vowels to be three parts ; 

do. of Short do. to be two do. 

do. of Capital Consonants to be four parts ; 

do. of Body do. to be three do. 

The swelled parts of Capitals to be one part thick ; 

do. of Body Letters to be two-thirds that of Capitals; 

The thin portions of Letters to be half, ( or one-third,) the thick- 
ness of the swelled portions. 
The horizontal projection on the ends of the letters to be the same 

thickness as the thin parts of the letters, and to project 

equal to, ( or once and a half,) the thickness. 

THE FULL ALPHABET. 

117. The letters we have heretofore described being collected in 
consecutive order, present ten long and ten short simple vowels, 
four English diphthongs, two compound diphthongs, yu and yu, 
(and as many more diphthongs and compounds as you please,) 
four French nasal vowels, ( and all the other vowels nasalized, if 
need be,) two, ( or more,) deepened vowels, three, ( or more,) im- 
pure vowels, two mongrels, twenty-eight simple consonants, and 
two, ( or any other number of,) double consonants. 

118. The lithographic plate headed " The Full Alphabet, Plate 
No. 1," has a vertical double line running to the bottom, dividing 
the plate into nearly equal parts. On the left hand side are the 
vowels; on the right, the consonants. At the top of the first 



44 PRACTICAL ALPHABET FOR ENGLISH. 

column on the loft, after the heading, the reader will see the num- 
ber ** 1 1," meaning the 1st sound long, with the word "eel," having 
that sound in it. On the same line in the next column are the 
capital and body printing letters for that sound, in the third col- 
umn the capital and body round writing letters, and in the fourth 
column the short writing letter. In the next line, immediately 
below "1 1," is " 1 s," meaning 1st sound short, with a word having 
that sound in it, the letter indicating the sound being in Italic; 
and on the same line, in the proper columns, are the printing and 
round and short writing letters for that sound. In the third line, 
is " 2 1," that is, second sound long ; but as we have no words 
with that sound long in it, the place for a word is vacant ; the let- 
ters for that sound, however, follow on the same line. Then 
comes "2 s in," and on the same line the different letters for it. 
And so on through the ten long and ten short simple vowels. 
Then follow the six diphthongal vowels in the same manner ; then 
the four French nasals, and two deepened sounds ; which brings us 
to the bottom of the plate. The three impure vowels are put at 
the bottom on the right hand side. 

Commencing at the top of the plate on the right hand side of 
the double ruled line, are the consonants, following the same 
arrangement as the vowels on the left. 

THE PRACTICAL ALPHABET FOE ENGLISH. 

119. In strictness, ten vowels and twenty-eight consonants 
comprise the list of simple elements. The principal accidents of 
vowels, are length, force and tone, ( No. 23.) The last two are 
shown by concomitants, but the determination of length is so im- 
portant that it must be shown by the letters themselves, and there- 
fore a duplication of the simple vowels is necessary. The other 
vocals, though varying in length by accent, are not doubled. For 
English, the four diphthongs are necessary. The two compound 
ones yu and yu, and the double consonants, j and ch, may be con- 
venient, but are not necessary. 

120. All the letters we need then in English are eight long and 
ten short, simple vowels, four diphthongs, and twenty-two conso- 
nants, ( = 44.) In No. 121, below, the capital and body letters 
for printing, answering to Roman, for these forty -four letters are 



PRACTICAL PRINTING ALPHABET. 



45 



shown quite large, so as to exhibit the shapes and proportions of 
parts more accurately. Leaning letters, answering to Italics, will 
be the principal variations from these. It will be an easy matter 
to fix the shapes of them when they shall be needed. Other vari- 
ations for ornamental purposes, etc., will also be made. 

THE PRACTICAL PRINTING ALPHABET. 
No. 121. Vowels. Consonants. 



11 


11 


Do 


22 




i i 


1«\ 


Zs 


r r 


r r 


aa 


Cc 




Y t 


Y\ 


liU 


fi h 


\\ 


\ V 


fifi 


/ t 


I i 


Vv 


77 


? <? 


1 1 


I i 


55 


\\ 


w 


J J 


3z 


dd 


dd 


I i 


qn 


b b 


It 1j 


P p 


fp 


\ 1 


* f 


Be 


Uu 


frir 


S(r 







46 



OF POINTS, FIGURES, AND OTHER CONCOMITANTS OF 
THE ALPHABET. 

122. Most of the points and other characters now in common 
use. will be needed. The following are adopted from those now 
universally in use, and therefore they need no explanation: 
<;:.'"''??!*ttll§1f()[]+X~ = $£1234567890 

123. The common parenthesis, when used in short and brief 
writing, will be made much longer than the short letters for 
c and p. 

The parenthesis <£ ^> * s use( * by Mr. Ellis, and others, to in- 
clude words printed in the common orthography, and will be useful 
for that purpose. 

The hyphen in short and brief writing, must be a double mark, 
thus, =, and the dash, a single one twice the length of the short 
letter, 

124. Instead of using the dagger and other figures for refer- 
ence marks, I would use the star (*) alone for the first reference, 
and add to it the figures 2, 3, 4, &c, for succeeding references on 
the same page. In Bible references, or wherever they are nu- 
merous, the figures alone, or letters of the alphabet, will be used. 
All figures in mathematics, the sciences, etc., can be as well em- 
ployed with my alphabet as with the Roman. 

In addition to the foregoing points, etc., are the following con- 
comitants of the alphabet hereinbefore explained, viz : Y high key, 
▼ middle key, x low key, T rising inflection, J[ falling inflection ; 
see No. 19 : v half accent, v full accent, ^ accented word, ^ em- 
phatic word ; see No. 31 : also sliding vowels, see No. 65 : ob- 
scure vowel mark, see No. 84 : anomalies, see Nos. 106, 107. 

SPELLING AND WRITING. 

125. The one simple rule for spelling, to be followed without 
exception, is to speak or write down each letter as the sound it 
stands for occurs in pronouncing words. Thus the spelling of a 
word, (or the letters composing it,) will indicate the pronunciation ; 
and the pronouncing a word will show its spelling. Considered in 
this light, the writing is called Phonography. Considered as a 
universal medium for writing different languages, it would be called 
Pasigraphy. 



SHORT WRITING. 47 

126. Phonography, compared with our present way of spelling, 
presents the following advantages : 1st. About two-thirds the 
number of types or letters are required in a composition, there 
being no redundants, and no contrivances to exhibit a single sound 
or articulation by two or more letters instead of one. 2d. The 
time of learning to read, the alphabet being committed, is reduced 
from years to minutes. 3d. It will establish a uniform pro- 
nunciation wherever the language is spoken. 4th. It will afford a 
ready means of showing the exact pronunciation of words in other 
languages, thereby rendering their acquisition much more easy. 

127. The only difficulty in spelling aright is in determining what 
is the exact pronunciation. Tuesday cannot be written without 
deciding whether it is tewsdy or chewsdy, or tyusdy. This is no 
part of my present business. 

No consonant can be doubled in a word except it is a compound 
one, where a distinct effort is made on the second letter, as in 
mis-spent, innate, solely ; t must be retained in words ending in 
-nts, -Its, and -fts. Thus cents will have the t in it, and sense will 
not, though they are apparently pronounced alike. So must p be 
retained in words ending in -mp where s is added. 

128. The expense of procuring matrices for new type prevents 
me from displaying my Alphabet in print. Plate No. 2 contains 
paragraph No. 6 in round writing, and part of the same in short 
writing unabridged. 



SHORT WRITING. 



129. This writing retains the essential parts only of the letters. 
The simplest forms, or marks, that can be made on paper, are the 
point, ( dot,) the straight line, and the circle and its parts. These 
are our elements for short and brief writing. The short letters, 
both consonants and vowels, are shown in plate No. 1, under the 
head of short letters. The brief consonants are nearly the same 
as the short; but in brief writing the vowels are designated by 
very short marks, half circles, hooks, large and small dots, &c. 

130. The consonants are composed of straight marks, quarter 
circles, and small circles, (loops.) If a circle be divided by /T\ 
a horizontal and vertical diameter, the quarters will re-v^J^y 
present four short letters : and a horizontal and vertical radius 
two more, as in the margin. If the whole be turned round 
forty-five degrees, the position of six other letters will be 
shown : see margin. These twelve simple characters are applied 
to the twelve consonants most in use. The other letters are 
necessarily more complex. 

131. We frequently see all distinction between the atonic and 
tonic letters, ( No. 90,) confounded by foreigners, who are never- 
theless perfectly well understood. Such characters have been 
allotted to most of these couples as are most likely to be mistaken 
for each other. By this arrangement, if a corresponding letter 
should be formed by a little carelessness in its position, or 
intentionally substituted (in brief writing,) on account of the 
lineality or beauty of the writing, the legibility is not affected. 

132. The horizontal letters are written from left to right. The 
perpendicular and oblique ones are written downwards, except 
such as lean like / , which may be written either way. The loop 

4 (49) 



50 SHORT WRITING. 

of a Letter, except ^, is always the first part written, and the 
stem starts oft' tangentially to it. Sr is written /~ ; ss is £s , or 
V : pr is , or it may be written "Y" > the last half of the p 
being left off ; mpr should be ^Y> tne Detter to distinguish it from 
mtr; dc is _&_, or ^, the first part of the c being left off; dr is 
either J or (f . These three cases of pr, dr, and dc, are the 
only ones where one consonant is allowed to cross another. 

133. The vowels are double the height of the other letters. 
Every part of a letter should be made plain and full, but not 
swelled. The exact position and shape of the letters must be 
maintained ; the straight must be perfectly straight, the upright 
perfectly upright ; there must be no general leaning of short and 
brief letters. 

134. The paper to be written on should be ruled, or faint lined, 
as is commonly done, to keep the lines straight. The faint lines 
will constitute what is called the bottom line of writing, below 
which the writing should not pass. At the distance of from the 
eighth to the tenth of an inch above the faint line is an imaginary 
line called the top line of the consonants, which the upper ends 
of the perpendicular and oblique consonants are to touch ; and 
at the same distance above this is another imaginary line, called 
the top line of the vowels, which the upper ends of the vowels 
are to touch. 

135. The horizontal consonants may be placed on the upper or 
lower line of the consonants as will be most convenient in joining. 
The letters of a word must be placed close together ; they need 
not join ; but where it is more convenient to join them, do so. 
Oft times the pen must be lifted from the end of one letter 
to the commencement of the next. But this is not so great 
a disadvantage as it may at first appear ; for a person can take 
his pen off from one point and put it down on another, in just 
about the same time that he can make a stroke between them ; 
that is, he can write two disconnected lines, thus | | , as quickly 
as he can write them connectedly, thus, [/] . It is better 
that no marks should be made in this writing but what are 
significative. 

Vowels are generally written downwards, but it is sometimes 
easier to project one upwards from a preceding consonant. 



SHORT WRITING. 51 

136. A capital letter is denoted by a dot over the head of it, in 
a line with the direction of the letter. A small dot over the letter 
will signify a small capital, and a large dot a large capital, as 
/" s, / S. A short stroke, light or heavy, in the place of the 
dot, will signify a small or large Italic capital, as / s, /* S. 
Capital and italic words can be shown by underscoring, as is now 
done by writers for the press ; viz, one line for italics, two lines 
for small capitals, and three lines for LARGE CAPITALS. 
Points, figures, marks, &c, as mentioned in No. 122, are to be 
used in short and brief writing, the same as in round hand, 
putting them at a little distance from the words. The comma is a 
simple cuspis, thus f , the semicolon a point and cuspis. 

Common abbreviations and initials of names are expressed by 
writing a point at the foot of the letter in a direct line with it. 

137. Numbers will commonly be expressed by words, or the 
Arabic numerals, (figures,) as they are at present. In tables, 
calculations, etc., where they are so situated that they cannot be 
mistaken for common letters, the following letters are used for the 
figures standing over them : 

1 234 5 67890 

J I w \ /■; ) ( ~ . 

Those composing a number may be written separately, or joined 
in the usual way, or unusually, that is, the end of one joined to 
the next, not at its end, but somewhere along its length. An 
object in thus connecting them is to show them to be figures. In 
performing arithmetical operations they must be separate. As 
like straight letters coming together will not join without coin- 
ciding they must be written separately, as ^^ ( 55.) Cyphers 
occurring together are expressed by so many dots in a horizontal 
row. The decimal point is indicated by a colon, as $ks\\* j 
(§4.50.) 

138. Current Short Writing. Although all contractions prop- 
erly belong to the brief department, yet it may be convenient to 
abbreviate the short mode of expressing vowels, 

1st. By using half-length vowels, when they will join to a suc- 
ceeding consonant and make an angle with it. As such vowels 
will be distinguished from consonants only by their height in the 
writing, they must always come up to the upper vowel line 



52 ADVICE FOR WRITING SHORT HAND, ETC. 

2d. By writing ing at the end of words by simply turning o on 
the end of the preceding letter, as ^y° bring. 
3d. By omitting obscure vowels. 

ADVICE FOR WRITING THE SHORT AND BRIEF HANDS. 

139. Do not try to write before you have studied well the 
instructions. It is easier to take a little care, and start right, and 
go right from the first, than to cure an erroneous habit afterwards. 
In order to write well and write fast in time, write slow r at first. 
Place your paper square before you, and as there is to be no 
sloping of letters, as in common writing, the face of the pen must 
be turned more to the right. Make every letter as near as possible 
to its exact shape and size, and in its proper position. A proper 
distance is to be observed between the words ; also between the 
lines. 

140. Be not discouraged at not being able to read your writing 
easily at first. You can neither read nor write rapidly until you 
are familiar with the letters and way of spelling. Practice will 
soon accomplish this familiarity. Let your writing, unless where 
you are sparing of room, be open and bold. Nothing is gained in 
time by making the letters diminutive ; besides they are apt to be 
not so well formed. 



BRIEF WRITING. 



INTRODUCTORY. 



141. Stenography, Brachygraphy, Short Hand, and Brief 
Writing, or Breviscription, all mean the same, namely : the art or 
process of writing by fewer and more simple characters than those 
in common use. The word now used to designate this writing is 
Phonography, which, etymologically, means the writing of sound. 
In a strictly philosophical sense, sound can not be said to be writ- 
ten at all, unless its impact on the ear of the hearer can be called 
so ; and this fades away during the very moment of its impres- 
sion. But sounds are signified or represented on paper by letters, 
which, when collected into certain groups called words, represent 
words of speech. This representation of speech on paper is Pho- 
nography in its broad sense; and hence our present abnormal 
mode of writing might be called by that name ; for the seven let- 
ters in the word thought, when put together in that order, signify 
the spoken word, or the sound of that word, as fully as would be 
done by a proper system in which the word would be written with 
three letters. A proper system of representation requires a letter 
for every sound, and to have the letters follow each other on 
paper in the same consecutive order as the sounds follow each 
other in speaking. And to this corrected mode of representation 
many writers now restrict the meaning of the word Phonogra- 
phy. But thus restricted, the word makes no reference as to 
whether the letters are simple or complex, whether the writing is 
done easily and quickly, or the reverse. It contemplates, besides, 
the writing of all the sounds, so that, although intndd is sufficient 
to show the word intended, it would not be Phonography, or 
writing the sound of the word. Phonography, therefore, is not the 
proper name for Short Hand. 

142. The principal object sought of Brief Writing, is the means 
of recording words with dispatch, — nearly or quite as fast as they 
are delivered by a speaker. A minor object is that the writing may 
occupy less space on paper. These ends are attainable to such 
an extent, as to constitute important advantages over common 

(53) 



54 BRIEF WRITING. — INTRODUCTORY. 

writing ; fer the time spent in writing an article in short hand, as 
well as the space occupied by it when written, need not exceed 
one-fourth of what they would be in long hand ; while the article 
can still be read with ease and certainty. 

14o. A good system must be, 

Plain, so that the writing may be read without the least diffi- 
culty : 

Short, that the writing may be easily and quickly done : 

Situ pie, so as to be easily acquired and remembered. 

These requisites have a mutual dependence ; for if we strive to 
make our writing very plain, we lessen the speed with which we 
write ; if we make it very short, we endanger its legibility ; and 
if we make it very simple, or short to be learnt, we deprive our- 
selves of the ways of abbreviation, which are convenient to every 
one, and necessary to the reporter. 

144. From these considerations arises another, which is, that 
the system should be capable of varying its ways of writing, so as 
to accommodate itself to the various uses and exigencies for which 
it is designed ; that it should, in a plain, neat, and tolerably expe- 
ditious manner, express words with the utmost precision, and thus 
be a safe and reliable continent for important records ; and that it 
should also furnish such modes of contraction that when haste 
requires, sentences can be written in the shortest possible manner. 

145. Most of the characters now used in every system, or 
scheme, being the shortest and simplest of all possible marks, will 
always continue to be used in all ages and languages. The merit 
of each particular scheme will depend on the judicious application 
of them to the elementary sounds of the language. 

146. In forming the alphabet I have been guided by the follow- 
ing principles, adopted chiefly from Byrom : 

1st. Every simple sound in the language should have its proper 
character, which should be sufficiently distinct from all 
others. 

2d. These characters should be the shortest and simplest marks 
in nature. 

3d. Those marks which are shortest and most easily formed, 
should be assigned to the sounds which are of most fre- 
quent occurrence. 

4th. The most frequent combinations of letters in speaking 
should consist of characters which will most readily join, 
or run into each other in forming these combinations. 

5th. Such marks should be assigned to the letters, that, when 
joined together in words, they will not interfere with each 
other, or go much above or below the common line of 
writing. 



BRIEF WRITING. — INTRODUCTORY. 55 

6th. Those characters subject to be mistaken for each other, 
should represent letters of similar power. 

147. No one of these principles is to be followed out exclu- 
sively. It is in giving to each its due weight that their excellence 
as a whole must consist. I have endeavored with patient labor to 
arrange the alphabet in accordance with them ; and in prosecuting 
the system I have been guided by the considerations of legibility, 
brevity, beauty, and ease of attainment. 

148. I claim as new in my system, 1st, The arrangement of 
the letters in more perfect accordance with the above principles : 
2d, The arrangement of the different modes of expressing the 
vowels, whereby the precise sounds are shown in a short and plain 
manner ; 3d, The half lettering ; 4th, Merging unaccented vow- 
els at the beginning and end of words ; 5th, Manner of writing 
Initiants and Terminants ; 6th, Merging 1, n, r, s, and d, or re- 
ducing to a few simple rules the way of expressing two or three 
letters in one, by varying the thickness and length of the char- 
acters. 

149. The foregoing, commencing at No. 142, is part of what 
was written many years ago as a Preface to my " System of Brevi- 
scription," previous to my entertaining the idea of the Endeavor. 
A few alterations have been made to bring it in more perfect unity 
with the forepart of the Endeavor, but I have not sought to 
change its particular adaptation to the English language rather 
than to universal Phonography. 

150. Brief writing must eventually come into general use. 
Thousands will use it in their ordinary affairs where one will use it 
professionally as a reporter of debates. It is immensely more 
important to have a system adapted to the wants of the thousands 
and the millions, than to the few. My desire has been to fill both 
uses ; but especially the great one, by furnishing a Writing, 1st, 
That shall contain a full alphabet, where every sound can be plainly 
written, and where no minute niceties of turns, or leaning, or 
lengths, or thicknesses are necessary to escape confusion, and con- 
sequently where any word whatever, when properly written, can 
be read with the utmost ease and certainty; 2d, That can be 
learnt without difficulty, and by a moderate amount of labor ; 3d, 
That can be written with ease, — by which I mean that the letters 
and combinations shall follow the same order in writing as in 
speaking, and so obviously that no thought is required in the 
arrangement ; 4th, That shall be fair in its appearance and lineal- 
ity : 5th, And that shall be as brief as the foregoing requisites 
will allow. 

151. The Reporting stage contains a few general rules by which 



56 BRIEF WRITING. — INTRODUCTORY. 

most of the words in our language can be shortened. Probably 
three-fourths of the words we use which contain three or four 
consonants, may be safely contracted by merging, where the writer 
has a fine pen and shows the swellings plainly. Tables of con- 
tracted words, and other appliances resorted to by reporters, will 
be needed; most of which, I presume, can be attached to my sys- 
tem as well as to any other. I am wholly unacquainted with the 
business of reporting ; I have read no works on the subject, and 
leave this part of my system confessedly unfinished. 



BRIEF VOWELS 



152. The short letters, their forms, and the manner of writing 
with them, have already been described under the head of Short 
Writing, beginning with No. 129 ; to which the reader is referred, 
as the remarks there made, with the exception of what is said of 
short vowels and of joining, will apply to brief writing also. 
Brief Consonants are the same as short ones, except that the 
loops are made small, that they may not be in the way of dotted 
vowels, and the strokes made long that dots can be written on 
them; and except duplicates, double letters, solid heads, substi- 
tutes, and contractions, as will hereafter be explained. See for- 
ward for table of Brief Consonants, No. 198. 

153. The Brief Vowels bear some analogy to the short ones, 
but still they are quite different. We have two general methods 
of expressing them. 

THE FIRST METHOD 

Is by using the following brief vowel letters for the sounds in the 
words next them : 

- eve, c end, s all, on, U ooze, full, c= due, 
I in, :> are, at, n up, => ice, C out, 

c\ aim, c art, u old, O oil, <=- use. 

These brief vowels, when in words, are to be joined to the con- 
sonants they are next to, and all the letters of each word are to be 
joined together when practicable, excepting as will be shown. 

154. Four of these vowels are straight marks. The first five 
crooked ones are half circles. The oo, i and u, differ from 6, a 
and a, in having their ends extended so as to bring them into 
something like an ox-bow shape. The oi and ou are more bellied 
than i and % making three-fourths of a circle. The fourth vowel 

(5T) 



58 



BRIEF VOWELS. 



(sound end,) is always written upwards. The sixth vowel, (sound 
art,) and er vu are always written downwards. The other letters 
are written either end first according to circumstances. 

155. These vowels, instead of being double the length of the 
consonants, as in short writing, are distinguished from them by 
being only a quarter or a third of their length. They are to be no 
longer than what is necessary to show their form and direction. 
The only way of distinguishing a long from a short vowel, is by 
swelling it. Accent, however, frequently determines the length, 
and this is marked by writing a dot close to the side of the 
accented vowel. 



156. 



6. 




EXAMPLES. 




i or r 


eat, 


U-n ta me, 


r> 


r 


at, 


H rat > 


(? 


r 


ought, 


f\* write, 


r 


i 


out, 


rl rot, 


r* 


J or L 


tea, 


ff wrought, 


/* 


L 


tie, 


?/~l accent, 


A 


U 


team, 


(7~1 accent, 


4 


> 


feet, 


C deer, 


N^ 



ring, 

wrong, 

wrung, 

rang, 

seeing, 

sighing, 

sawing, 

various. 



In accordance with strict phonography every long vowel should 
be swelled ; but it is seldom necessary to do that. A swelled i, 
( perpendicular mark,) is e, and is only to be used where the ends 
of the letters it joins are horizontal, as Vj^*~ green. 

157. As respects the time spent in writing them, these little 
brief vowels are no shorter, or very little shorter than consonants ; 
for the impulse guiding the fingers in forming one proceeds from 
the mind, and must have reference to the commencement, direc- 
tion and ending, ( length,) of the stroke ; and all these things can 
be as quickly attended to in forming a mark the common length 
of a letter as in a shorter one. 

158. Independently of size, the crooked vowels are distin- 
guished from the consonants by a much greater curve. To guard 
further against mistaking straight vowels for consonants, they 
should be turned backward when it can conveniently be done ; that 
is, the contrary way from which a consonant would be written, as 
f*^\ rib, and the words feet and dear above, No. 156. It may be 



BRIEF VOWELS. 59 

better in some instances even to make one consonant cross another 
than to write the vowel forward, as ^" fear, ^ leap, ^~ war. 

159. With the exception above, vowels must always be so writ- 
ten as not to interfere with the letters they are joined with ; thus, 
in S due, the crook for the u is written upwards, in I tune it is 
written downwards. Where letters will not join in the usual way, 
one must be joined on to the other, as ^i iota. An acute angle 
with a consonant is preferable to an obtuse one ; thus __s — is to 
be preferred to — s . 

160. There are a few occasions wherein a circular vowel must 
lean a little out of its erect position, as \ r /\ test, ~\f bear, \f 
car ; and a few where one arm of an ox-bow must extend a little 
farther than the other, as /] suit. A circular vowel between two 
consonants should make an angle with one of them. 

161. A straight vowel letter can generally be written before a 
looped consonant as well as before any other, as f~~ rich, ~Y/° 
brush. So can frequently a circular vowel, as ^ approach. 
A small loop can sometimes be turned inside, as C v9 _ coach; other- 
wise the joining is inconvenient. It is better even to lift the 
pen and join on the looped letter, as \p__, than not to make 
the word plain. But better ways of writing such cases will be 
shown. 

162. It frequently happens that a straight mark vowel is to be 
joined to a consonant having the same direction. It will not do 
to denote a vowel by merely writing the consonant a little longer 
than usual ; but if there is another consonant on the other side of 
the vowel, this case is easily and prettily disposed of by using this 
consonant to cut off the vowel from the other, as f near, (\ 
writ ; (rj , cross ; ?\f~ j suffer. When there is no other conso- 
nant to make the separation, the vowel is written detached, No. 167, 
or by a dot. 

163. It will readily be seen that, theoretically, all the crooked 
vowels, except oi and ou, will join without forming angles only to 
such ends of consonants as are either perpendicular or horizontal, 
as [\ c __ ? c— ? [^ V^ ? ;. A vowel thus joining a conso- 
nant without an angle is called a hook; and as it is easier to write 
a consonant and hook than to write the two letters with an angle 
between them, it is desirable to make as many of the circular vowels 



60 LATERAL INSERTION OP VOWELS. 

hooks as we can ; also to have a rule for ascertaining the particular 
vowel intended by a hook in case of doubt. Wherefore we make 
these rules in regard to consonants having oblique endings : 

1st. Hooks on straight consonants, standing obliquely, are sup- 
posed to bend inwards a little, so as to make more than a half 
circle, as \ | _, fan; \j-., fine; /L- , sign; ^?, race; ^?, rays, 
or raise. 

2d. Hooks being put on the concave side of circular consonants 
ending obliquely, are supposed to make less than a semicircle, as 
( r _, cone; ^j^, lamb; ^g\ , lime. 

We are by no means constrained to use these rules ; for we can 
write either '"p or ^~> for might, ^/ or ^ for news. 

164. Restrictions. — Long hooks will be used to represent r, 1, 
and -nt, under certain conditions, (Nos. 230, 234-5-6-7,) and to 
avoid clashing between them and the oxbows I, u and oo when hooks, 
observe, that except c __ ? written for yun, (as in H, unit,) and V 
yus, (as in the word use,) no words are to commence with a long 
hooked vowel. The few words which might thus commence, are 
easily written some other way. In regard to words ending with 
long hooks see forward, No. 231. 

165. The writing a knob on a vowel shows it to be a nasal sound, 
Example, ^> P in > [French]; J* or f dent, or dans; W dont; 

\ aucun. In writing French it will probably be sufficient to 
signify the nasals, by simply swelling the simple vowels. The 
French ii is this figure ^ or ^ , and eu is ^ . 

166. In case a break is made in a word to prevent the last part 
of it going too far above or below the line, the parts must be con- 
nected by a double hyphen, as > ^« confute. 

LATERAL INSERTION OF VOWELS. 

167. Generally it is easier, (more quickly done,) to write a word 
connectedly, according to the foregoing directions, than to separate 
the letters. But sometimes the joining is not convenient, or the 
appearance is awkward, or the exact figure or swelling of the vowel 
cannot be well shown ; or the writing may be done in a hurry and 
the vowel omitted at the time, to be supplied afterwards. In such 
cases, or wherever desired, the vowel may be written separately, 



LATERAL INSERTION OF VOWELS. 61 

and it is then called a detached vowel; but the consonants or other 
parts of the word must be joined. 

168. If the vowel precedes the consonant, it is written before it ; 
that is, near it, on the left hand side, if perpendicular or oblique, 
or if horizontal, under it, as u /~", oar; _, own. If it comes after 
the consonant, it is written on the other side, as /£", row ; J y_, no. 
The vowel coming between two consonants is either written after the 

first, as \ fate, or before the last, as \ fate ; or somewherp 

between the two, as \/ ', pass. If two vowels come between two 
consonants, each vowel is written closely beside the consonant it is 
next to, as /£"«~" , ruin. 

169. The fourth sound is written like a diminutive r, (thus r ,) 
while the sixth sound is like a small g, (thus c .) If this sound is 
long, the upper part is swelled, as "^f^* balm. The mark for the 
fifth sound when long is also swelled at top, as >s ^/""\ fair. The 
first part of the o may be swelled, but no harm if it is not. To 
designate the unaccented o and the stopt o, (No. 47,) let the right 
hand limb be swelled. This can easily be done by commencing the 
letter on the right hand side, and writing it backhanded, as c \u ? 
whole ; C W* hole. In the same way distinguish, when necessary, 
the two lengths of the tenth sound, as \JJ , fool ; \AJ , full. 
There are comparatively but few words where it will be necessary to 
show a vowel, (whether detached or not,) to be long by swelling it. 

170. The oxbows for oi, ou and oo, are substituted by a cuspis, 
(spear point,) in the direction / for oi, ^ for ou, and T for oo ; as 
V, oil; ~\, boy; % out; \_^, fool; \_y, full. 

SECOND METHOD OF INDICATING VOWELS. 

171. That end of a consonant which is first written, is called the 
head ; even if, as may appear by the connection, it is written the 
reverse of the usual manner, as a | struck upward, still the end 
first written is the head of the letter ; and the other end is called 
the foot. The left hand side, or if horizontal, the underside, is 
called the foreside ; the other, the hind side. 

172. A dotted vowel is said to be written on a consonant, or on 
the side of it, when the dot made for the vowel is written close up 
to, but not touching the side of the consonant. The consonants 



62 NOTATION OF THE DOTTED VOWELS. 

of a word, (sometimes called the skeleton,) are first to be written, 
joined together, and the vowels are then dotted out on them. 

173. There are reckoned five vowels places on each side of a 
consonant. The first, (or e's place,) is even with the head of the 
consonant, as *|; the second, (a's place,) half way between the 
head and the middle, as *| ; the third, (i's place,) at the middle 
as »| ; the fourth, (o's place,) half way between the middle and 
foot, as I ; and the fifth, (u's place,) even with the foot, as | ; or, 
they may be called the vowels' first, second, third, fourth and fifth 
places. 

174. A large dot always represents a long sound; a small dot a 
short sound. A vowel coming before a consonant is written on the 
fore side of it ; coming after, it is written on the hind side ; coming 
between two, it may be written on either, as is most convenient. 
When two vowels come between two consonants, each is written on 
the consonant next to it ; or, if one only of the vowels is dotted, 
that one is read next to the consonant it is written on ; and when 
two vowels are to be expressed on one side of a consonant, the dot 
for the vowel next the consonant is placed the closest to it ; or the 
sound next the consonant is written by a dot, and the other by a 
vowel. 

175. Accent is expressed by a small dot, placed on that side of 

the vowel dot which is opposite to the consonant. See examples 

in notation of sound 3 short, and sound 5 short. An accent dot 

is placed only against a vowel, or vowel dot. See latter part of 

No 155. 

NOTATION OF THE DOTTED VOWELS. . 

176. Sound 1 long is written by a large dot in the e's place, as 
*], eat; |*, tea; <T , we. 

177. Sound 1st short, and sound 2d short, are written by a 
small dot in the e's place, as the first e in /(/"|, secrete; ] , it; 
1_ or )_ , pin. 

178. Sound 3 long is written by a large dot in the a's place, as 
•| , ate or eight ; 9« , way or weigh. 

179. Sound 3 short and sound 4 short are written by a small 
dot in the a's place, as .£*""> marine; y^J, amend; }f__, pen. 

180. The dipthong T is written by a large dot in the i's place, as 
•/, ice ; v,s> \, life. 



NOTATION OP THE DOTTED VOWELS. 63 

181. Sound 5 short is written by a small dot in the i's place, as 
.] , at ; *.^/ | , accent ; •££""] , accent. 

182. Sound 5 long cannot be written by a dot, so as to discrim- 
inate it from the short sound, but it must be made in one of the 
ways pointed out in the 1st method. No ambiguity, however, can 
arise by employing the small dot. Fare shortened up does not 
become far. Ask, fast, pant, &c, spoken quickly, are still the 
same words. 

183. Sound 6 long and short, and sound 7 long, are to be written 
by the first method. 

184. Sound 7 short is written by a small dot in the o's place, as 
, on ; v - v t lot. 

185. Sound 8 long and short are written by a small dot in the 
u's place, as \s* , fur ; ^_ , sun. 

186. Sound 9 long is written by a large dot in the o's place, as 
(, oak ; V , go. This sound, unaccented, may be expressed in 

the same way ; but to be precise, see No. 169. 

187. Dipthong u is written by a long dot in the u's place, as 

U. , tube. 

Sounds 10 long and short, and dipthongs oi and ou, cannot be 
described by dots. 

188. When, from the interference of letters, we cannot place a 
dot just where we would on one consonant, we can frequently do 
it on another. In writing four we have not room to place the dot 
in the proper place on the f, and so we put it on the r, thus \f. 
A dot must never be used where a vowel's place cannot be plainly 
shown by it. Hence it must not be put in or near an angle where 
it can be read to either of the two consonants it is between, 
unless it makes the same letter on either, (as \y"). Nor must it 
be put near where two letters run together. Thus it cannot be 
told whether ^y — is meant for born or burn. A detached vowel, 
instead of the dot, makes any such case plain. The vowel is but 
little harder to write than the dot ; it requires no exactness as to 
its situation on the consonant, and its sound can be read inde- 
pendently of it. 

189. Detached and dotted vowels written before the combina- 
tions for pr, dr and dc, No. 132, are read first, or before either of 



64 NOTATION OF THE DOTTED VOWELS. 

the letters : when written after they are read last ; written over pr 
and dr, and under dc, they are read between the letters, as ~X~ 
upper ; -^ , pure ; Q^ dike. 

190. Several vowels and dots are used for words, as will be 
shown in the Table, No. 220. Any vowel sound which is to be 
noted separate from consonants, can be expressed by marking the 
vowel on the foreside of a solid headed h, (1,) as J , oh, or owe ; 
1 , awe. Capital and abbreviation dots, (No. 136,) are put to 

the h • thus A. will be n| 

OTHER MODES OF INDICATING VOWELS. 

191. A vowel which would be expressed by a small dot, occurring 
between two consonants, may be denoted by commencing the con- 
sonant succeeding it in its place, as I , tin; I — , ten; I — , tan; 
L_, tun; ~^J, bud. 

192. A large dot, coming between consonants, may be written 
in its proper place on the preceding consonant, and have the suc- 
ceeding one projected from the dot, as |*-^, time; Q , keep. 

193. The large dot will appear to be a head to the letter joining 
it. The head and stroke of a descending letter, (and of a horizon- 
tal one by turning the pen in the fingers a little,) may be made by 
the same effort. But the head of an ascending letter can only be 
swelled by a distinct effort. Thus, if the word four is to be written 
by this rule, the \ is first written, then a large dot in the o's 
place ; and lastly, without taking off the pen, the f~ is projected 
from the dot, (which then becomes a head,) thus \/~. If the suc- 
ceeding letter is looped, the large dot is indicated by a swell on 
the back of the loop. 

194. In expressing a vowel, according to the last two rules, it 
is desirable that the head of the indicating consonant should not 
necessarily be more than half a letter's length off from the vowel's 
proper place, and should either be on a level with it, as \C take, 
or perpendicular to it, as ^=s;, mean. There are some cases where 
the indicating head cannot be brought up so close, and where too 
it would be desirable to avoid going so far below the line as would 
be done by joining the consonants and dotting the vowel. In such 
cases the vowel is best determined by the position which the fol- 
lowing consonant holds with respect to the foot of the preceding 



NOTATION OF THE DOTTED VOWELS. 65 

one. If the feet of the two consonants come together, it is a first 
place vowel; the head of the indicating consonant being swelled 
shows it to be long, not swelled, short, as \J, feet; ""^l/^S betray. 
The indicating consonant being lowered a fourth part of its length 
marks a vowel of the second place, as \t , fate ; lowered half its 
length, a vowel of the third place, \t, fight. Still lower, a fourth 

place vowel, as ^H, got; and when the head of the indicating con- 
sonant is even with the foot of the other, a fifth place vowel is 
marked, as shown in No. 191. 

195. When two vowels come together between consonants, the 
first may be dotted, and the last made by the next consonant, as 
Z" 5 , ruin. Or show the first by commencing the next consonant 
in its place, and the other by writing or dotting it on the foreside 
of that consonant, as fi — , ruin. Or write the first vowel by the 
first method, and show the other by the head of the next con- 
sonant, as {* , ruin. Still other ways are shown in other places. 
A detached or dotted vowel, written on a consonant, is always to 
be read next to it, although it comes between the consonant and 
a vowel that is made to join it, as £/, chaos, or {/, chaos. 

196. Any word or writing can be done by means of the first 
method alone, and, with a few exceptions, it can be done by the 
second method alone. It is not intended that a writer shall in any 
case confine himself to either of them ; but that he shall choose the 
best way of writing each word as it shall occur ; having reference 
to clearness, to lineality, to the beauty of the writing, and to the 
time he can spare for it. 

197. It is certainly easier, in most cases, to join in a vowel 
where it occurs in a word than to lift the pen and write a detached 
vowel, or a dot for it afterwards. But it will often happen that' 
from carelessness, from a bad pen, or a dull pencil, these little 
marks will be blurred, or will not be formed with precision, or will 
come in an awkward place to join, or being straight marks, unde- 
tached and not written backhanded, they can only be distinguished 
from consonants by their lengths, thereby requiring care in this 
respect, in writing both the vowels and consonants. Hence it is 
frequently preferable, if not necessary, to write vowels detached, 
or by dots. 

5 



k 


■^ he 


g 




n g 

ch 


1 h 


gh 

y 

sh 


r » 

^-7 hi 


zh 


^ 1 


ill sini 


sde consonants, 



BRIEF CONSONANTS 

198. Table of Brief Consonants, with the Roman printing let- 
ters answering to them annexed. (For the powers of these letters 
see Table No. 86, with the explanations following it. See also 
Plate No. 1.) 

) P It ( 

^ b J) d L 

/~\ m n o 

\ pt f th 7" 
^ vh c dh r 

\ f / ■ ■ // 
S v y y z ^ 

199. Besides the above, which are all single consonants, we 
have five double ones, namely : 

o_ or o — ch, as in chiip, 

cl^ or <5~^ j, as in jet, 

°\ wh, ( or hw,) as in why, 
O x, or ex at the beginnings of words, and 
C qu ( or kw,) as in quit ; and gu as in am/wish. 

200. It will be noticed that the brief letters v, z and zh, have 
no crooked arm at the top, as the short letters have, but are distin- 
guished from their atonies simply by a more horizontal leaning. 
An additional character for z is the half length stroke. This is 
particularly useful at the ends of plural nouns and singular verbs. 
The y, sh, ch and j, have each two forms on account of facilities 
for joining with preceding letters ; thus, dch requires the first and 
tch the second form of the ch. The x is a variation of the letters 
cs made half size, the figure being about the size and shape of an 
oxbow vowel. S preceding an x must be written upwards, as /° 
six ; following it, downwards, as X , taxes. The qu is a half circle 
whose diameter is half the length of the letter Q. 

201. To keep in line, dis written by its second form [ J,] down- 
wards, as (~J read ; and for the same reason the | is sometimes 
written upwards, as (_T~1 > content. When t succeeds t or p, it 
may be substituted by the first or second form of d struck 



BRIEF CONSONANTS. 67 

upwards, as in the word /^/[^ substitute. C, p and th may be 
written upwards, and even lean a little to the right by marking a 
cross on them, as XfX^, victim. As c and p are never to be writ- 
ten upwards without the cross, r and d may be safely put in their 
position, or nearly so, the r to make a better angle with a follow- 
ing p, and the d to show it to be put for t. 

202. The / and / are always taken to be written downwards 
and (~ upwards, when it is not shown by their connection that 
they go the other way. Thus, /* is see and not sue. In joining 
an o to an s thus unconnected, a first method vowel must be sup- 
plied, to prevent the word from being mistaken for a looped letter 
written the other way. 

203. The letter ng is usually expressed by its proper character, 
the small circle, (o.) There are half a dozen or more words, with 
their derivations, which, when properly spelt, have ng for their 
first consonant ; as ink is not pronounced in-k, but ing-k ; angle 
is not an-gle, but ang-gle, the n, when followed by the sound of k 
or g, being changed into ng. And as the o does not admit of 
having dotted vowels written to it, these cases are managed by 
writing a first method vowel on the foreside of the 5 and annex- 
ing the next consonant to the hind side, thus \ ink. Such words 
will be plain enough, though not spelt right, if written with an — , 
as ^^ ink. 

'-204. As the little circle forming the loop of a letter, and the 
ng are the same figure, it will be necessary to bear in mind that 
every looped letter always commences with the loop. The pen com- 
mences to form the loop at that point where it makes an angle 
with the stem ; and the stem is started tangentially from that por- 
tion of the loop which is last written. When the small circle is in 
any other position it is known to be ng ; as when the pen is turned 
back in writing the next consonant, as in i/\. Kingston. Here 
the figure of g is shown, but it is known not to be sh, because to 
write it according to the above direction we must join it to the 
preceding letter, thus, \f or thus C . Whether necessary or 
not, a consonant succeeding ng can ' be commenced in a 
straight direction from the center of the o, thus (/[ . 

205. The O stands for ing when turned on the hind side of the 
straight stemmed letters ; or the inside of the curve of the circu- 



68 BRIEF CONSONANTS. 

l:\rs. and no votcI written, as A sting, V° bring; also after a 
long vowel, as A, or /L staying. When any other vowel than 
the short I precedes the ng, it must be written by a vowel letter, 
as in examples to No. 156, or by a dot. The o unattached is ing 
together with the vowel indicated by its location, as /° saying. 
(A plainer way has been taught, No. 156.) The z, (short /) may 
be added tangentially to an ing at the end of words, as j^ Kings. 
Two ings can be written together, as \^ bringing. 

206. A C fall size, can be added to o only w T here the pen is 
turned back, (No. 204,) as /P drink. An easy way of writing 
nk is to make the circle, and then continue the pen round a 
little outside of it, as if commencing a spiral, thus forming a small 
(, either upwards or downwards as the case may require : the short 
I is understood, as in No. 205, when another vowel is not written, 
as | think, "\ l4 blank, f*^ wrinkle. Also when g succeeds 
the sound of ng, let it be written by a spiral downwards in the 
position of V^ , as sjj/ linger. 

207. Instead of looped or open headed letters, solid heads are 
allowable when there is no joining to preceding letters, as T for % 

, for a_. They are written, (like crotchet-heads in music,) at 

once by a sudden bearing down of the pen, which, after a little 
practice, is performed quicker than by carrying the pen round in 
a circle. In joining to a preceding consonant it is always better 
to make the loop, as the whole is done with about as much ease 
with the loop as without it. For instance, this mark — f can be 
made nearly as quick as this |. If, however, the loop should be 
blurred into a solid head no harm is done. 

208. As the looped letters are not formed so readily as the sim- 
ple ones, there will be an advantage in substituting small detached 
angles for them in certain conditions. The mark ^ is the substi- 
tute for h, > for y, v for wh, y for w, * for ch, < for j, A for 
th, and ^ for dh. The necessary conditions are, that there must 
be a vowel which may be written by a dot intervening between the 
letter to be substituted and another consonant, so that the substi- 
tute can be written against the consonant in the vowel's place, and 
thus mark the vowel too. The part of the substitute nearest the 
consonant will show the precise place where the dot would be. 
The long sound is indicated by swelling one side of the substitute. 



BRIEF CONSONANTS. bt> 

EXAMPLES. 

T heat, *| hit, ^| hate, H hight, 

v j wit, v | wheat, v | whit, vl white, 

1 y et > ) cheap, (* teeth, ~~ r \^ nature. 

As an angle is always placed so as to indicate a vowel or a con- 
sonant, it can thereby be told from a double vowel.. 

209. If a letter comes after a substitute, it is either joined to 
it or to the preceding consonant, as Q or (£ riches. The > 
will do for ia at the end of words, as <^_^J> Lydia. 

210. The gain in speed by employing substitutes is in their 
indicating by their position the vowels next them. Their use will 
serve to keep in line such words as hope, both, thought, woful. 

211. When the short I is followed by another vowel, the two 
making a diphthong, with the accent on a preceding sound, the i 
becomes practically a y, and is written by one, or by its substitute, 
as \f J \/^ or Y\^, trivial. 

212. The sound following y being obscure, it will not generally 
be necessary to notice it ; and the y can be written in with the 
skeleton of the word, as in the first trivial above. The exact 
sound, however, must be written in words which are uncommon, 
and words which are similar to others in sound, as (jy carious, 
{J^7 caries. 

213. The unaccented yu in words ending in ual and uous is 

easiest written by \ or its substitute, as / A ^ or / /^ sen- 
sual. 

ON KEEPING IN LINE. 

214. The faint lines, if the paper is ruled, are the bottom lines 
of the writing, as in short writing. The sixth of an inch, or a 
little less above these, are the imaginary top lines of the writing. 
To maintain a good appearance it is desirable to keep within these 
bounds as much as possible. But in brief writing we can not 
always do so. There are many words, whereof some of the letters 
by their connection will be forced over the lines. Many conso- 
nants must transgress the half or the whole of their length, and 
there may be words, ( I do not know that there are any such,) 
where it will be necessary to go two lengths. If all the conso- 
nants of the word disordered are stretched upwards, the last one 
will be five lengths above the upper line. Predecessors can also be 
drawn out five lengths, and disregarded four lengths. Captivate 



70 ON KEEPING IN LINE. 

will go four lengths below the lower line. These words are proba- 
bly as difficult to write as any that can be found, but they can be 
folded in so as to look passably well, thus, 

215. The first consonant of every word must always be within 
the lines ; and if it is horizontal it must be written at the top or 
bottom, as will best suit the succeeding parts of the word. Thus, 
n in f will be on the top line, and in . J on the bottom one. 

216. Letters may occasionally be curtailed in length to help 
the appearance, as dr in ( / J , and rd in ~^~\^ . He who wishes 
his writing to look well, will take pains to make it as straight and 
compact as is consistent with perfect legibility and plainness. The 
instructions which have been, and will be given, will be found to 
afford a great variety of ways for writing words. They should be 
well studied and attended to in selecting the best ways — the plain- 
est and most lineal ways — of writing words, until the habit of 
writing them is formed; and then these best ways will suggest 
themselves to be used as a matter of course. 

217. The foregoing is Breviscription free from all contractions 
and arbitrary marks. It establishes methods whereby the exact 
sound of every word in our language can be plainly shown. The 
scholar should practice a while before proceeding further, by writ- 
ing sentences from a newspaper or book, and inserting all the 
vowels in each word, even those that are short and obscure, with 
the accent, punctuation, etc.; for although this minuteness need 
not be attended to in ordinary writing, yet it will often be neces- 
sary in some words, especially if in a foreign language. 

RECORDING STAGE.— LETTERS STANDING FOR WORDS. 

218. There are many little words which, from their frequent 
occurrence, it is very convenient to have some easy way of 
expressing. This is done by having a single letter or mark, when 
alone, represent a whole word. Such a letter is called a logogram, 
or word letter. 

219. A letter may be written full sized, and half size ; and in 
the latter case it can be put at the top or bottom line of writing ; 
and if horizontal, it can be placed full size and half size at the 
top, middle, and bottom, and have each of these variations of 
size and position signify a different word. By these means and 
by the substitutes, No. 208, we are enabled to express upwards of 
sixty words by single characters. 



RECORDING STAGE. 



71 



220. The following table may be considered as an arbitrary 
application of particular letters, considered both as to size and 
their place on the line, to signify the words next to them. The 
bottom line of the words in print will show whether the short 
hand letters are on or above the line. 



• 

a, an, 


n> among, 


j had, 


^ God, 


. period, 


^Mr., 


in, 


^ g ot , 


. 3 I, eye, 


^ himself, 


— an, 


<. again, 


c you, 

? the, thee, 


Ji^ themselves, 


— on, 

not, 


^J good, 
V g^e, 


v how, thou, 

) U P> 

perhaps, 
^ be, 

^ by, 

1 but, 


we, 
u with, 
J without, 
u- within, 


no, 

a- any, 
m _joxm and, 


o thing, 

> ye, 


\ would, 


_/ &c, 


cf~ your, 


\] was, 


-j into, 
% under, 


<f she, 
/° shall, 
d should, 
> he, 


^ being, 
"\_ been. 
\ above, 


V were, 
v why, 
y what, 


n they, 
A that, 


"^ below, 


\ if, 


* is his, 


^ who, 


°\ before, 


\ of, 


• as, 
/ so, 


has, 


T behind, 


\ have, 


^ however, 


1 between, 


V for > 

N/^ from, 
V vei 7, 


J said, 
/ us, 


C are > 


J_^ beyond, 
about, 


j/ this, 


r ° r , 

her 


V ever, 


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r ^ am, 


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J does, 


C question, 


C, except. 



72 SUNDRY CONTRACTIONS. 



SUNDRY CONTRACTIONS. 

221. Many obscure and unaccented vowels which do not begin 
or end words, may be omitted without the least detriment to the 
legibility, as J\f, or J\(~ , difr, (differ.) _J\f dfur, (defer.) 
It is generally safe to omit such as must be spoken ; for example, 
the Italic letters in retain, defect, conclude, mountain, parent, ma- 
jority. Where the rest of the word can be spoken without it, 
and especially if by suppressing it another word is made, it must 
be written ; as the vowel between n and 1 in finally, which, if omit- 
ted, would make finely, and the u in support. 

222. A short vowel beginning a word, is shown by writing the 
first consonant half length ; as ~\ ) intend, \f~ appear. 

223. The short y at the end of words, is shown by writing the 
last consonant half length; as / r scenery, J^ duly, \{? 
Friday, /J city. 

These half length letters will admit a short / after them for the 
plural, as _J V insanities. 

224. A slight distinction might be made in the leaning between 
the short z and half length s, (cy,) of the above rule, as \-r 
fans, \~7 fancy ;. but it is better to write the cy in full. 'Cies 
can be written with two short s'es, and \~^ fancies. 

It is of importance to have an easy and obvious distinction 
between s and z, and this is effected much more readily and cer- 
tainly by writing the z half length than by its leaning. 

225. The half of any quarter circle letter, except v_^ and ^^ 
may be left off, when by doing so it will run into another letter, or 
have another letter run into it without forming an angle, as X/^ 
form. Here, by leaving off the last part of the r we make it run 
into the m, and thus save an angle. Other examples, \^J fillet" 
S\^ advised, \jp^ gleam, ^"^ \^J mingled. 

226. If vowels come before or after letters connected by h: -ly- 
ing, write them by first method vowels either joined or detached, 
or by dots on the consonants before or after. Vowel sounds com- 
ing between such letters, are written plainest by detached vowels 
placed near the head of the first, or foot of the last. But when 
such vowels are expressed by dots, the first three places on the 



SUNDRY CONTRACTIONS. 73 

combined character, belong to the first, and the last two to the 
last letter. Examples : </] wrist, ^\ rest, f\ roast, l^ guile, 
\^ goal, \^, glow. The vowel is always taken to be on the last 
letter, when it is indicated by the head of a succeeding conso- 
nant, as, f^\f~ remember. 

227. In a few combinations a little deviation from the natural 
position of a half letter is advisable, that the compound character 
may not so easily be mistaken for a single letter. Rs is made 
thus f , ds thus t/, ct f , sd /. As the combinations for ds 
and rs will be much used, it is well to state that the sound c ( ar,) 
does not come before s in English ; hence no harm can arise from 
writing ds a little hooked, thus </ ; and as there are but few 
words in which 6s occurs where these letters can be written ^ , it 
is better always to write them thus t/^, and a hooked rs thus ^ 
will then be plain. Dz and rz ending words are written as in 
\f* y words, and \_f pillars. 

228. A d may be added to d by continuing the circle further 
round, as J ended. In writing sr (connected with other let- 
ters.) let the s part be made pretty straight up, as [ answer. 

229. Similar to the above half lettering, and with similar dis- 
positions of vowels coming between the letters, are the following 
contractions : £"" sh'r, <$* sh'd, and <f y'r. 

230. A word ending in nt may have these letters designated by 
a hook made too long for a vowel, on the preceding consonant ; on 
the foreside if straight, or on the inside of the curve if circular, 
as \ faint, J) *) dependent. 

231. The placing the hook for 'nt on the fore side of a straight 
letter prevents it from being confounded with an ox-bow vowel. 
Example : ^J\ advent, _J\± defy. But where the 'nt is put on a 
circular consonant it must be on the same side as the hooked 
vowel ; and it may be said that to write a hook a trifle longer for 
'nt does not sufficiently discriminate it. True, it does not ; but it 
will seldom happen that both ways of reading it will make English 
words, or if so, that the connection will allow more than one of 
the words to make sense. Writing a vowel before 'nt will always 
determine the case ; and where this is done no harm can arise by 
turning the hook for 'nt on the hind side of a straight consonant, 



74 SUNDRY CONTRACTIONS. 

or by making the hook a short one. Examples : "~J intent, /^ 
my, a-^ meant. 

232, A dotted vowel is not read to a hook, and therefore may- 
be put outside of it, and still be read to the consonant, as ~\_^ 
blunt. 

288. A z or s is added to the 'nt bj turning the hook inward so 
as to touch the consonant, as (^ comments. This will also serve 
for -nee ; so that, by changing the accent in the last example to 
the second syllable, thus (^ , it will stand either for comments or 
commence : \J) evidence. D instead of s is indicated by carry- 
ing the mark through the consonant, as ^ painted : ing is added 
to the hook by turning a small loop inside of it, as ^f painting. 
A z may be added to -nee, as r \Jl^ evidences. 

234. The ending -nd instead of -nt is shown by writing the con- 
sonant the hook is on half length. The hook, too, must be made 
small, so that when looped for s, it may not reach the fore end of 
the consonant. Examples : ^> m'nd, ^ minds, J^ d'f 'nd'd. A 
fine pen is required for such little marks. When there is time and 
room enough, the plain way of writing these endings is much the 
best. 

235. A long hook * commencing a word and written on the 
foreside of p, b, f, v and t, and the concave side of c, g, 1 and q, 
signifies r; written on the hind side of f, v, and t, it signifies 1. 
Examples : \f~ refer, V return, j^£? relent, I) write, -f 
light. 

236. M and the hook prefixed signify cm, as c^—J command. 
This hook represents a small ( written upwards. 

237. N and the hook prefixed, thus c , is en ; (generally con-). 

This way of writing en is not preferred to the regular ( on 

account of being shorter, but it is to be used on account of line- 
ality, where, as is generally the case, a succeeding consonant has 
a downward direction, as c ~^ convey. 

238. An r written downwards, (being joined to other letters to 
show that it is,) is ar, as C^\ arm - T and c are added to a down- 
ward r by half lettering, as V^ mark. 

* The suggestion of these hooks, as well as several other mat- 
ters, is from Pitman's Phonography. 



INITIANTS AND TERMIANTS. 75 

INITIA1\TS AND TERMIANTS. 

239. An Initiant is a letter made to represent several letters at 
the commencement of a word, by terminating its end in, or drawing 
it through the side of the letter it is joined to. Written the first 
way, v stands for over-, t for trans-, n for inter- or intro-, and s for 
super-. When drawn through, n stands for under- and s for circum-. 



* 



EXAMPLES. 

overturn, N/" transfer, Ay superfine, 

understand, —^/ introduce, — ^ interview, 

undertake, "— L entertain, J\f\ circumscribe. 



240. A Termiant is a letter made to stand for several letters 
at the end of a word, by commencing it in, or drawing it through 
the side of the preceding consonant. In the first way, b stands 
for -ble, b half size for -bly, the foot of the b being lengthened 
for -bility, m ( after a hook,) for -ment, s for -self, s double length 
for -selves, 1 for -shal or -cial, 1 half size for cially. When drawn 
through, n is -xion or -ction, s is -soever or -city, or -citude, and 1 
is for -lity. 

EXAMPLES. 

")/\ possible, V^ possibly, ^ himself, 

^^ contentment, S ~-V" infection, ^~ introduction. 

/ is shus (-cious,) and ^ is yus (-ious.) They are joined in the 
usual way, their tails being made a little longer than for sh and y. 

241. -Ct is indicated by joining a short mark to the foreside of 
the letter preceding it, as __/9* inspect. This is not a contraction, 
but is intended to save the unsightly appearance of going over the 
line of writing. It is not necessary that the mark should be hori- 
zontal, and it may pass through the letter it is written on, forming 
one on the other side, as f$f respects, f$J respected, </}\ 
respective. 

242. -Tion is denoted by writing an half length, and -tions 

by writing it full length, backhanded on a foregoing letter, as ^-^ 
motion, ^ motions. The plural, however, may be made by z if 
preferred, as C ^A confessions. If the mark for -tion or -tions 
cannot be written backhanded, write it as a terminant, as /J- 
sedition. Also if a letter follows it, as J^-y additional. At the 
end of a horizontal letter -tion is best written by curving the end 
up, thus ' \y invention. 



76 REPORTING STAGE. 

243. A consonant put a little above the first part of a word to 
the right takes -ation after it, as ^\ salvation. 

244. A heavy clot put above to the right is -ation, as /| # sta- 
tion. A z is added as a tail to it, the dot and z making a large 
enspis, as /| stations, __^ nations. 

'l-ib. A vowel letter put in the place of the dot for -ation, signifies 
that vowel followed by -tion, as ( f caution, ^ motion. The z 
added is ^f motions. 

Plate No. 3, headed " Breviscription," contains the first and 
second paragraphs of this work, commencing " Prominent among". 

REPORTING STAGE. 

246. In this there will be more vowels omitted than in the pre- 
ceding stage. Where, besides the accent, there is a long vowel or 
half accent, they should both be written. Vowels beginning and 
ending words must also be noted. But in most long words there 
need be but one vowel written. This one will then indicate both 
the accented syllable and its sound; and when these two things 
are attended to, we can hardly miss pronouncing the word by 
speaking the short sounds of u or I between the other consonants, 
whenever it is necessary to their utterance. In following a 
speaker, or whenever a writing is done in haste, many vowels must 
be omitted. They can be afterward supplied. In hasty writing 
also, the distinction of the large dot from the small one, or making 
a swelled head to a letter, will not be so strictly attended to ; 
especially where a separate effort is required to make it. 

In reporting speeches, &c, many words must necessarily remain 
unwritten at the time. A proportionate vacancy should be left, to 
show the omission, and give room for supplying it at leisure. 
Such words especially should be retained as will show the object 
and meaning of the sentence. 

COMPOSITE LETTERS. 

247. By composition of letters is meant the representing two or 
more letters considered as combined together, by one character, 
which is called a composite letter. This character must of course 
be shorter, that is, more readily formed than the separate letters 
which it represents, or there would be no use in employing it. 

248. Brief consonants can be modified in length, or in thick- 
ness, or in both. By means of these modifications, the five letters 
1, n, r, s, and d, are, under certain circumstances, merged in 
others, forming five series of compounds, as follows : 

249. L. Series. L is merged in the consonant going before 



COMPOSITE LETTERS. 77 

it by swelling that consonant along the middle if circular, or 
throughout its length if straight, to twice the usual thickness. 
Examples : \> fly, (* clay, /\ useful, f\ rattle, *)• reply, "^ 
inflict, ^\ revolution. 

250. Dl, rl, si, and shl are written downwards, as J* delay, 
(•" rely, J* idle. The curved letters have a neater appearance 
when swelled only in the middle, tapering off each way. The 
loop of a letter is not to be swelled or changed in any of the 
series. As the head of a circular swelled letter is thin, a long 
vowel can be expressed on it as in No. 192,- thus |*V 

251. N Series. N is merged in a preceding downward or hori- 
zontal letter, by writing it swelled and half length. Examples : 
IN given, //" reason, ~x invention, __") intended, ^ open, \, 
fallen, _^ engine. 

252. R. Series. R is merged in a foregoing consonant by writ- 
ing that consonant twice its usual length. Examples : true, 

fraud. 

253. Exception. The lengthened s struck upward is ss as 
/ passes. The sr is made by half lettering the r, or by a 

X straight, double length stroke nearly perpendicular, as 

• passer, hy surpass. Lengthening the letters y and sh 
add an s/ and not r. (No. 240.) 

254. S Series. S is merged in the consonant following it by 
commencing it with a swell, and decreasing to a small stroke. 
Examples (• sky, [ stone. 

255. S and z are merged in a preceding consonant by ending it 

with a swell. Examples: *\ notes, (^ comes, h states. 

256. The s is merged also in the r series, either at the begin- 
ning or end. Examples : | master, J matters, j spring. 

257. B Series. Words ending in d or t may have these letters 
merged in a preceding downward consonant by writing it half 
length and swelling the end. If the consonant is atonic, the 
merged letter is probably t; if tonic, d. Examples: ~N baked, 

r c 

T related. Lt following an expressed vowel is u? as / u result. 
Writing the vowel before this lt prevents its being mistaken for o. 



78 



NOTATION OF VOWELS ON THE FOREGOING COMPOSITES, 

258. A vowel coming after a composite letter is written after it, 
or on it, as on a simple one ; if the letter is dotted e is put at the 

P I 

head, i at the middle, &c, as tree, • try. A vowel coming 

before a composite must be joined to it, as nitre, or dotted on 

a previous consonant as nitre. 

259. The foreside of composites being thus unoccupied by fore- 
going vowels, is used whereon to dot out vowels coming between 
the combined letters, Examples : f seal, Jf or, y sail, °\ 

while, J pore, ^ vessel. 

260. A dot before a double composite signifies a vowel between 
the first and second consonant, as 1 tears. If the sound cannot 
be written by a dot, write it by a brief vowel letter and put a dot 
beside it, as *j towers. A vowel letter without the dot shows the 
sound to be between the second and third consonant, as I trees. 

261. The substitutes, (No. 208,) when written on the foreside 
of a composite always precede, as VJ waste. And when the r 
and 1 hooks are prefixed to composites, the vowels dotted before 

them precede, as | later, • writers, J roaster, •« rooster. 

Vowel letters come in next the last consonant, as => retire, ^w 

reveal, J restore. Where there is a choice between half letter- 
ing and merging, the former is generally to be preferred. 

262. Letters placed in position to indicate -ation after them, 

may be composites, as <=~\V conflagration. A merged z on the 

detached letter is -ations, as s^ C vacations. 

263. The use of double length letters makes very unsteady 
looking lines. This has to be submitted to in hasty writing. 



CONNECTING WORDS, ETC. 79 

There can be but little objection to the use of swelled letters, even 
in careful writing, provided the writer has a good metallic pen 
and flowing ink, so as to write the unswelled lines finely, and yet 
plainly, and the swelled lines at least double thickness. 

264. The connecting of words, abbreviating sentences, &c, are 
matters pertaining exclusively to reporting, and are not developed 
here, but a few are merely hinted at, as follows : 

When several words expressed by single letters in the table No. 
220 come together, they may be joined, and yet shown to be logo- 
grams by placing them a little above the common line of writing. 
Many characters in the table No. 220, might have been made 
shorter, but as it was especially designed for the recording stage, 
it was deemed best to have every character perfectly plain and 
distinct from all others, and not depend on swellings. By swel- 
ling the simple marks, ( the half length and full length, straight 
and quarter circular letters,) we double their number ; and by 
swelling the heads only, or the feet only of most of them, as 
might be done, we can also largely increase them. The old ste 
nographies had tables wherein each character stood for several 
words, depending on its situation in the sentence to show which 
word was meant. Hence it is evident a Reporter's Table can be 
made out, embracing from one hundred and fifty to two hundred 
words, each written with a single stroke of the pen ; and although 
one may vary only in a slight degree from several others, as y 
for as, and / for has, or by not being written accurately, may not 
be distinguishable at all when separate from the context, yet in the 
context they may all be sufficiently legible. 

265. This table would not only embrace composites representing 
single words, but composites alone, or composites joined to single 
letters to represent several small words, as f for sit, or is it ; J for 
its, or it is ; L_ f° r & is n °t '> \ f° r it has been; 3 f° r did no U 
kc. The table would include some long words expressed by their 
first syllables, as ) for opportunity, ^-^ for immediate, ^ for 
immediately. In such a table, or in another, might be short hand 
letters made twice the common size, and swelled to distinguish 
them from the r series, to represent common adverbial phrases and 
ideas : as, for instance, C would represent the Latin ablative causa, 
and stand for such words as because of, on account of, by reason 



80 NOTATION OF VOWELS. 

r the Bake of or it was caused by, occasioned by, originated 
in, &o. On would be consequence, as m consequence of, hence it 
happened, &c. Q quantity, cither with respect to time, distance, 
number or magnitude ; the bigness of the character to be propor- 
tioned to the length of time, distance, &c. Ql quantulum, the 
reverse of the foregoing. Ns, necessity, as It is necessary that — , 
the matter cannot be avoided — , toe, he, &c, must, shall be obliged 
to — , &c. In the. same way, Pr, probability, Ps, possibility, S, 
similarity, G, agreement, P, opposition, D, advantage, R, reference. 
Such adverbial and sentential contractions may be carried to 
almost any extent. To be of use they must not only be fixed in 
the memory, but so familiar as instantly to present themselves 
whenever needed. 

COMPARISON OP MR. ISAAC PITMAN'S PHONOGRAPHY 
WITH MINE. 

266. Mr. Pitman uses hooks, small half circles and angles, large 
and small dots, thick and thin dashes, and half length and double 
length, and swelled consonants. In my reporting stage I use all 
these means too. Our systems being on a par in these respects, 
it may be desirable to compare them in regard to brevity, appear- 
ance, accuracy, &c. The American Manual of Phonography, 
published by the Brothers Longley, of Cincinnati, contains the 
American Declaration of Independence, written by Pitman's Sys- 
tem. In Plate No. 4 of this work I ha,ve inserted as much of the 
Declaration as will go into it. In Mr. Pitman's system the vowels 
are all written separate from the consonants. They can all be so 
written in mine, too ; but I have joined in some with the conso- 
nants, as being an easier and better way of expressing them. 



\%V\ 



r\ 



NDEAVOR 



TOWARDS A 



NIVERSAL ALPHABET, 



A DISTINCT I VK 1 




\0 OH 


I 'iiWEIS 




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CAPITAL AN 

vn vrinl'T 



TO ALL KIN Sii AND WBIJ 



By A. D. SPROAT, 

CHILLICOTHE, OHIO. 



ATTKD 



CHILLICOTHE: 
PUBLISHED BY THE AUTHOR. 



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